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  Наименование CD :
   Mozart: Violin Concertos



Год издания : 

Компания звукозаписи : Limit Edition, (ru)

Время звучания : 1:13:30

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Guru)      

Orchestre Symphonique de Paris

Conducted by Georges Enesco (KV 216 & KV 271 a); Pierre Monteux ("Adelaide")

## 1 - 3 Violin Concerto No. 3 in G maior, KV 216. Paris, Studio Albert, 19.XII.1935

## 4 - 6 Violin Concerto No. 7 in D major, KV271a. Paris, Salle Pleyel, 4.VI.1932

## 7 - 9 Violin Concerto in D major, K. Anh. 294a "Adelaide". Orch. Marius Casadesus. Paris, Salle Pleyel, 18/19.V.1934

========= from the cover ==========

Menuhin had just turned 16 when he recorded Mozart's K.271a, a work that he had played from the age of ten. It was only his second concerto for the gramophone - the first had been the Bruch G minor, six months previously - and on the same day he also recorded the Bach double concerto with his teacher Georges Enesco, with Pierre Monteux conducting (a recording which immediately won a prize as the best disc of the year). Monteux, who like Enesco had studied at the Paris Conservatoire, had been conductor of the Colonne orchestra, of Diaghilev's Ballets Busses (where he had directed the premieres of Petrushka, Le sacre du printemps and Daphnis et Chloe) and of the Boston and Con-certgebouw orchestras: in 1929 he had founded the Orchestre Symphonique de Paris, and directed it for nine years. For Menu-hin's Mozart, however, Enesco (who was equally outstanding as violinist, pianist, teacher and composer) replaced Monteux on the rostrum. The young virtuoso was insistent that these two were the only conductors with whom he wanted to record; and for twenty years he had his way except on two occasions - for the Elgar Concerto under the composer, and under Barbirolli in New York for the Schumann. For Enesco, whom he had begged to teach him and who had been so bowled over by the ten-year-old's precocious maturity that he had accepted him without fee as a pupil, Menuhin felt the deepest admiration and affection: though he also studied with Louis Persinger and Adolph Busch, it was Enesco who chiefly fired his imagination and whom he later described as "the greatest single factor in my musical growth and development".

It is ironic that Menuhin's first two recordings of Mozart concertos should have been of works that are suspect, or worse. The authenticity of K.271a is dubious: it has been suggested that a new violin concerto Mozart played for the joint nameday of his mother and his sister in 1 777 was this, but no autograph exists, and stylistically the work is characteristic of 19th-century French tastes. Perhaps only a sketch was written, which was then freely adapted by the violinist Sauzay (who possessed the copy which serves as the work's source) or his pupil Baillot. The fact that the theme of the "Gavotte joyeuse" of the ballet Les petits riens appears in the finale is scarcely evidence either for or against the concerto's genuineness - but nevertheless it is enjoyable for its unusually florid Andante and exceptionally long and varied rondo.

Considerable stir was caused in the early 1930s by the reported discovery, publication, and prompt recording by Menuhin, of a concerto (K.294a) purporting to have been written by Mozart at the age of ten for Adelaide, the eldest daughter of Louis XV, and filled out by the violinist Marius Casadesus from its form as a two-stave score showing only the solo violin part and the bass. However, though the style was Mozartian (albeit much more mature than other compositions of his at this period), suspicions were aroused by constant refusals to allow the score to be seen by experts, and by the fact that the works does not appear in the catalogue of Wolfgang's compositions made by his father only two years later and that the Mozarts were not in Versailles on the dated note in the score. Only in 1977, in the course of a lawsuit over the copyright of his arrangement, did Casadesus confess that he had hoaxed the musical world and that the concerto was entirely by him. Fortunately there is no doubt about K.216, written with authoritative technique and considerable musical depth in 1 775. It opens in the same way as an aria in the opera // re pa-store (of five months earlier), but the solo violin introduces new themes; and just before the recapitulation there is an unexpected recitative-like passage. The scoring (for oboes and horns particularly) is of special interest: in the gentle Adagio (rather like an Italian opera aria) the oboes are exchanged for flutes. In the third episode of the jaunty rondo finale, mood and metre suddenly change, first for a delicate, somewhat formal dance over pizzicato accompaniment, and then for a cheerful folksong (the "Strassburger"), complete with musette effect.

-Lionel Salter, 1990


  Соисполнители :

Georges Enesco (Conductor)
Pierre Monteux (Conductor)


№ п/п

Наименование трека

Текст

Длительность

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   1 Allegro         0:08:25 Cadenza
   2 Adagio         0:08:21 -"-
   3 Rondo         0:07:14 Allegro - Andante - Allegretto Tempo I
   4 Allegro Maestoso         0:10:48  
   5 Andante         0:07:59  
   6 Allegro         0:07:53 Cadenzas - Enesco
   7 Allegro         0:08:22  
   8 Adagio         0:09:47  
   9 Allegro         0:04:39 Cadenzas - Hindemith

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