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Review by krisjan November 29, 2010 (7 of 8 found this review helpful)
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Performance: Sonics (S): |
For those who appreciate their Mozart performed on modern instruments without undue emphasis on historically informed practice, this SACD should be right up your alley. In addition to the justly famous Sinfonia Concertante for violin and viola K.364, it includes a reconstructed concerto for violin and piano based upon Mozart’s Violin sonata in D, K.306.
The Sinfonia Concertante is full of good tunes. The performances of the solo parts are immaculate. Midori and Imai play as one both linearly as well as dynamically. Eschenbach proves to be a perfect partner in leading the NDR Sinfonieorchester in all its fulsome goodness. In recent years, Eschenbach’s conducting has become wayward (e.g. his Saint-Saens Organ Symphony was ruined by too slow tempos) but back in 2000 when this recording was made, there are no such problems. I’ll take my Mozart this way any old day of the week (and yes, I have plenty of HIP Mozart recordings).
The performance of the Violin/Piano concerto features Midori with Eschenbach playing and conducting from the piano. Midori’s playing is spritely and appropriate for the music while Eschenbach’s piano contributes nicely. The musical material (not nearly as memorable as in the Sinfonia Concertante) is equally shared between the two solo instruments. I’ve always admired Eschenbach as a pianist and this recording is further proof of his sensitive musical skills at the keyboard. The accompaniment from the NDR orchestra is well executed.
This non-hybrid stereo/multichannel DSD-recorded release has been around from nearly the beginning of the SACD era. It was recorded in the NDR studio in what sounds like a very large space – there is plenty of hall sound evident in the recording. Unlike many recent Mozart recordings, the orchestra here sounds quite sizable. The recording of K.364 is somewhat better than for the violin/piano concerto. It has a bit more presence to the orchestral parts although the solo instruments are too prominent in the mix to give a truly natural perspective. Imai employs scordatura tuning for her viola (tuned up a half-step to E-flat instead of the normal D tuning) which gives a slightly brighter sound that nicely compliments the violin timbre compared to many recordings of this work. In the violin/piano concerto, the piano is placed lid-off amidst the orchestra (this can be seen in a booklet photo). Here, the sound of the piano is a bit dull compared to the brilliant violin tonality. Overall, the sound of the recording is good if not spectacular. Certainly, it is good enough to convey the excellent musicianship on display.
Lastly, it is surprising to me that this recording remains available at “normal” pricing considering that many other SACD’s of this vintage are long out of print and are fetching outrageous internet prices. My advice is to buy it while you can.
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Review by ddarch88 May 16, 2003 (6 of 6 found this review helpful)
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Performance: Sonics: |
I am just beginning my excursion into classical music, so forgive my naivete. I bought this SACD on a whim, having had a gift certificate for Best Buy and having wanted to hear something classical in the format. I was unfamiliar with the works, and chose them mostly because I like most Violin Concertos, and most Piano Concertos I have heard by Mozart.
An interesting side note to the Violin/Piano Concerto is that it was an unfinished work, recently finished by a respected composer who is also a Mozart scholar. Honestly, as a classical newbie, that didn't mean much to me, but for Mozart aficionados, I figure that might be cause to buy this cd.
My favorite of the two works on this SACD is the first, a Concerto for Violin and Viola. I love how the violin suddenly makes its entrance about two and a half minutes into the work, and then mesmorizes. The viola works throughout the piece in almost a "call and response" fashion. In two channel, the violin appears to the left and the viola to the right. The full orchestra to the center and behind In multi-channel, it's a little more blurred, the violin left-center, the viola right center. Frankly, I like the stereo verson better in this first peice, but I like the sonics the MCH provides for the piano in the second piece. I think you get a better "hall" effect in the latter piece using the MCH, whereas in the first piece, the listener is so drawn to the violin/viola interplay, it seems better suited to just stereo mixing.
The recording, in DSD, is stunning. Besides some older vinyl on the London label with Isaac Stern as the violinist, I have never heard the instrument sound more engaging, more emotional. Even at very loud volumes, it is never grating or shrill. I am not sure of Midori's ranking among today's violinists, but this amateur classical listener was very impressed.
I recommend this disk to other SACD enthusiasts interested in what DSD can do for orchestral recordings, and, in particular, the violin.
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Review by Dan Popp January 7, 2004 (4 of 4 found this review helpful)
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Performance: Sonics: |
I'll just compare and contrast to the previous reviewer to "cut to the chase." The orchestra sounds rich and lush. The violin and viola when playing in unison, do have a bit of an edge, IMNSHO. Perhaps the viola's being tuned up a half step contributes to that. Certainly they "stand out" or "forward" from the orchestra, and some of that has to do with the fact that they're just brighter than the orchestra's string section. It's not irritating - just one of those things that, when you play the disc back in 10 years, you'll say, "hey, listen to what they were doing back then!"
Now, the piano, in contrast, is round and plummy. It reminds me of the piano in the movie, "Amadeus" - full and sonorous, while the playing is light and delicate and sprightly. For that reason the 2nd work - the delightful "recreated" masterpiece - is my favorite.
All in all, very enjoyable.
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