“Perhaps you’re already quite familiar with the Mozart violin concertos, or at least familiar enough with Mozart to have developed strong feelings about his music. If so, you’re probably in one of two camps: the first group think Mozart is the bee’s knees, the second think that he’s overrated. If you’re in that latter camp, I hope that this record will surprise you and make you reconsider any preconceived notions you may hold about what Mozart can sound like. If you’re in the former group, well, here’s another great album of his music!

“The Freiburg Baroque Orchestra is one of my personal favorite ensembles for not only historically informed performances of music throughout the centuries, but also among more conventional orchestras. … The Freiburg orchestra has got an overall sound with period instruments that adds a cutting-edge’s sharpness to the strings and a patina-like sound, well-seasoned by the years, to the horns that avoids any semblance of kitsch while still presenting the listener with an overall sound-world that stands out. This record is no different, and I’ve listened to other versions of these three concerti to try to figure out exactly what made von der Goltz and his orchestra’s performance outstanding to me.

“… Some waking sleeper’s morning has just started and, who better to wake them than typical exuberant Mozart? In other versions, the orchestra still comes in from silence, of course, but maybe the prominence of the double basses in Freiburg’s version gives it a little more oomph. I don’t know what it is about the 1720 violin that von der Goltz plays, or his playing itself, but the character of the sound also grabs my attention. In other recordings of this concerto to which I’ve listened, particularly those not on period instruments, the primary differences are in things like tempo and the minute variations in how one bows. In the present record, if you gave the violinist a different instrument, I doubt it would have the same voice at all. The booklet highlights that in the rondos of the three concerti there is “a surprising minor-key episode… [that leads to] something even more extravagant.” This is no understatement in either of the three concerti, and in the first one recorded, the minor-key section leads to what can be best described as some really jiggy fiddling. For my part, at least, it makes me want to dance. In other versions, this part has less abandon and so comes across as less folksy. I also notice how, in the Freiburg version, the string section is much more in the foreground—they’re with the soloist. I love how this concerto ends, like a question mark to mirror the beginning.

“Almost like a scattering flock, the music from the strings and horns, with organized chaos, concludes. Similar to the allegretto that follows the minor andante section in the Violin Concerto No. 3, there’s a surprising rusticity to the piano assai in the fourth concerto; as described in the booklet, von der Goltz indeed plays the open G in such a way that it is very reminiscent of a bagpipe; in other versions, this effect is apparent as well, and this is one way in which everything I listened to aligned, probably because it is an open-string note. The Freiburg recording still sounds especially good to me because of how foregrounded the orchestra is.

“The Violin Concerto No. 5 in A Major features my favorite of the rondos because of the alla turca theme which features reversed bows. With the whip-like sound of the wood on the strings, the acid arco to contrast, the bright horns… how can I not air-conduct? The particularly adamant harsh-musicality with which the Freiburg orchestra performed this section is only nigh-matched by one other of the recordings I selected, and yet they still manage to have their own distinct, attractive sound. All in all, I think that you’ll be glad you heard this one.”

This article is from NY … a place that accepts anyone there?

Well, they are like any other orchestra, it’s about people who can play all the notes “tipping the boat.”

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