Mozart - Violin Concertos Nos 1 & 3, Sinfonia concertante
£9.45
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Label: Virgin
Cat No: 5021122
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 6th April 2009
Contents
Works
Sinfonia concertante for violin and viola in E flat major, K364Violin Concerto no.1 in B flat major, K207
Violin Concerto no.3 in G major, K216
Artists
Renaud Capucon (violin)Antoine Tamestit (viola)
Scottish Chamber Orchestra
Conductor
Louis LangreeWorks
Sinfonia concertante for violin and viola in E flat major, K364Violin Concerto no.1 in B flat major, K207
Violin Concerto no.3 in G major, K216
Artists
Renaud Capucon (violin)Antoine Tamestit (viola)
Scottish Chamber Orchestra
Conductor
Louis LangreeAbout
This new release sees him in two of Mozart’s solo concertos and the Sinfonia concertante with viola-player Antoine Tamestit, another outstanding French instrumentalist of the younger generation. (Interestingly, Renaud has on occasion performed the Sinfonia concertante with his brother in an arrangement for violin and cello.) Another Frenchman conducts the programme, Louis Langrée, who has been Music Director of the Mostly Mozart Festival in New York since 2002.
“Working with Louis Langrée is a particular privilege,” says Renaud. “His Mozart has honesty, purity and joie de vivre ... grace, in fact. He makes a marvellous guide for me, since I am less familiar than he is with Mozart. The Scottish Chamber Orchestra guides me too ... The players’ finesse of articulation and their colours are drawn from chamber music ... This simplicity of approach is essential for me.”
Capuçon, Tamestit, Langrée and the Scottish Chamber Orchestra performed the Sinfonia concertante in St Andrews, Glasgow and Edinburgh in May 2008, with The Guardian praising Capuçon’s “silvery tone”. In 2007 the same newspaper, reviewing him in the two solo concertos on this new recording, said: “Mozart's violin concertos are harder to play than they sound; the challenge lies in making them sound effortless without rendering them facile. Capuçon, with his sweet-toned but deceptively powerful playing negotiated this balance successfully. His playing was brilliant in the bravura passages without sounding like showmanship, while the slow movements, particularly of the G major Third Concerto, were spun out with unerring lyricism.”
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