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Wolfgang Amadeus Mozart - The 5 Violin Concertos - David Grimal, Les Dissonances (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Grimal, Les Dissonances
Title: Mozart - The 5 Violin Concertos
Genre: Classical
Label: © Les Dissonances
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: highresaudio.com
Duration: 01:43:19
Recorded: Cité de la musique Paris, 1 March 2014 (live)


David Grimal and les Dissonances sign a modern, lively and authentic interpretation of the Complete Violin concertos by Mozart.
« Researching sources, scores, instruments, historical, aesthetic and political contexts, and any other kind of clue, is fascinating. But in spite of everything I still find it insufficient and incomplete (...) How can we make this music which is already remote from us resonate, or rather ‘re-sound’, within us? » --David Grimal
Violinist David Grimal continues his fascinating musical trip with Les Dissonances, an unique musicians collective he founded in 2004.
They publish under their own label, a new version of Mozart complete violin concertos. They brightly enlight the modernity of these vivid masteworks by melting period and modern instruments, for a renewed approach of authenticity in this repertoire.
For this recording, David Grimal offered composer and harpsichordist Brice Pauset to compose orginial cadenzas for all the concertos. In the book joined to the CD-DVD box, they share their views about authenticity in musical interpretation.
The spirit of Les Dissonances is one of bringing together disparate worlds - there lies its specificity. The ensemble creates a link between those involved in the various different aspects of music (composition, solo performance, orchestral music, chamber works) and it includes not only musicians from the greatest French and international orchestras, but also talented young artists who are just embarking on their careers.
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Wolfgang Amadeus Mozart - Requiem - Arnold Schoenberg Chor, Concentus Musicus Wien, Nikolaus Harnoncourt (2004) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Arnold Schoenberg Chor, Concentus Musicus Wien, Nikolaus Harnoncourt
Title: Mozart - Requiem, K.626
Genre: Classical
Label: © Deutsche Harmonia Mundi/Sony Music Entertainment
Release Date: 2004/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 50:15
Recorded: Großer Musikvereinssaal Wien, Austria, November 27-December 1, 2003


This new recording of Mozart's Requiem (in the edition I prefer, by Franz Beyer), has everything going for it. The soloists are all excellent--really excellent. Soprano Christine Schäfer leads the group with lovely tone and a total commitment to expressing the text through her singing. She's seconded by the magnificent Bernarda Fink (whose Dvorák song recital for Harmonia Mundi became a Disc of the Month selection), while Kurt Streit's bright tenor has none of the insipid "church choir has-been" aura that leads so many performances to make do with second raters just because the actual part isn't very large. Gerald Finley delivers a truly dignified Tuba mirum, aided in no small measure by Nikolaus Harnoncourt's Concentus Musicus Wien, which sports a trombone player who actually makes his solo sound both lyrical and imposing rather than merely awkward.
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Wolfgang Amadeus Mozart - Sinfonia Concertante & Concertone - Camerata de Lausanne, Pierre Amoyal (2013) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Camerata de Lausanne, Pierre Amoyal
Title: Mozart - Sinfonia Concertante & Concertone
Genre: Classical
Label: © Warner Classics
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:56:01
Recorded: April 12-15, 2012

This little Swiss release is not a state-of-the-art recording of Mozart's Sinfonia Concertante in E flat major for violin and viola, K. 364, and that, perhaps, is its charm. There are big-name, big-orchestra performances of this work, and there are bristly historical-instrument readings. But there was a type prevalent a couple generations ago, with a very sensitive European chamber group and soloists who represented the best of the old European tradition, and these recordings made this awe-inspiring work breathe. In 1965 you might have bought this reading by violinist Pierre Amoyal, violist Yuko Shimizu, and the Camerata de Lausanne on the Nonesuch label, perhaps, or from the Musical Heritage Society. The musicians are confident enough in their ensemble work -- impressive indeed for a group without a conductor -- to apply just enough tempo flexibility to bring out the sentimental French sweetness that is at the heart of the sinfonia concertante genre, even the vast K. 364, and the work here receives a uniquely attractive, affecting reading. One bonus is the inclusion of the little-recorded Concertone in C major for two violins, cello, and oboe in C major, K. 190, another Mozart work in a sinfonia concertante-like genre; the musicians get the work's unique balances and slightly experimental quality. Another is the sound, recorded in the famed Salle de Musique in La Chaux de Fonds, Switzerland, in 2012. A highly satisfying outing from the revived Warner Classics label. --AllMusic Review by James Manheim
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Wolfgang Amadeus Mozart - Symphony No. 35 'Haffner'; Posthorn-Serenade - Concentus Musicus Wien, Nikolaus Harnoncourt (2013) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Concentus Musicus Wien, Nikolaus Harnoncourt
Title: Mozart - Symphony No. 35 'Haffner'; Posthorn-Serenade
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2013/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:11:18
Recorded: June 9,10 & december 1,2 2012, Goldener Saal, Musikverein, Wien


Recorded at the Golden Hall in the Musikverein Vienna in 2012, this is two of the most important works of Mozart’s ‘middle’ period that Harnoncourt has never recorded with a period-instrument orchestra before. Harnoncourt is well known for his unique interpretation of Mozart and this is reflected by the highly flexible playing and phrasing from the orchestra. This album marks the 60th anniversary of the collaboration between Nikolaus Harnoncourt and the Concentus Musicus Wien.
The Posthorn Serenade, written in 1779 for the student’s farewell at the end of term at Salzburg University, is one of Mozart’s longest and most varied instrumental works, a plethora of musical characters typical of Mozart’s serenades and a unique blend of elements of dance, solo concerto and symphonic writing. Its rendering here is preceded by a March (KV 335 /1) which, according to Nikolaus Harnoncourt’s musical research, was played in Salzburg in 1779 before the actual performance started.
Mozart’s symphony No. 35, the Haffner Symphony (named after the Salzburg family who commissioned the work in 1782), was originally conceived as a serenade as well. Written in a particularly festive and serene style making best use of the orchestra’s virtuosic possibilities, it’s the shortest of Mozart’s mature symphonies and one of the most popular and effective ones. The new recording marks the first time Nikolaus Harnoncourt revisits the piece after his epoch-making version of 1980 (with Concertgebouw Orkest).
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Wolfgang Amadeus Mozart - Piano Concertos Nos. 22 & 25 - David Fray, Philharmonia Orchestra, Jaap Van Zweden (2010) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Fray, Philharmonia Orchestra, Jaap Van Zweden
Title: Mozart - Piano Concertos Nos. 22 & 25
Genre: Classical
Label: © Erato/Warner Classics
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:05:31
Recorded: Abbey Road Studios, London, Great Britain, 25-27.VIII.2010


David Fray is a lyricist in a thousand. Yet for all his innate sense of finesse, he seldom misses an opportunity to stress the music’s symphonic breadth. Unobtrusively animating the left hand, he provides structural depth as well as courtly accompaniment, often underlining the rhythmic pillars with sonorously articulated basses, which are sometimes doubled at the octave.
At the other end of the expressive spectrum, some may well find him excessively delicate – almost to the point of mannerism. It seems churlish to complain of too much beauty, but there are occasional hints of costume jewellery that detract, for me, from Mozart’s uniquely subtle brand of virility – nowhere more evident than in these two great works (whose scale transcends their already impressive dimensions).
The pervasive operatic element in Mozart’s Concertos is often presented (here very well indeed) primarily in terms of dialogue – between the soloist and orchestra, and with its constituent families, most notably the wind.
To a certain extent, most of Mozart’s concertos can be seen, dramaturgically, as variations on a theme of Figaro. What these performances with Fray convey quite strongly is a sense that there’s an allegorical subtext in which the individual (the soloist) confronts, and is eventually reconciled with, society at large (the orchestra – presented here with splendid symphonic grandeur).
Fray’s ‘individual’ is of such supreme sophistication and refinement that he could hardly be mistaken for the common man, but then that can hardly have been his intention. All in all, this is sublime entertainment, whose undercurrents of pathos are neither neglected nor exaggerated. --Jeremy Siepmann, BBC Music Magazine
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