MOZART Violin Concertos Nos 1-5 (Skride)
View record and artist detailsRecord and Artist Details
Genre:
Orchestral
Label: Orfeo
Magazine Review Date: AW20
Media Format: CD or Download
Media Runtime: 128
Mastering:
DDD
Catalogue Number: C997201
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra No. 1 |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Concerto for Violin and Orchestra No. 2 |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Concerto for Violin and Orchestra No. 3 |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Concerto for Violin and Orchestra No. 4 |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Concerto for Violin and Orchestra No. 5, "Turkish" |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Adagio for Violin and Orchestra |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Rondo for Violin and Orchestra |
Wolfgang Amadeus Mozart, Composer
Baiba Skride, Violin Eivind Aadland, Conductor Swedish Chamber Orchestra |
Author: David Threasher
Baiba Skride ‘has this rare quality of discovering the music as we play’, says conductor Eivind Aadland. ‘I know that there are so many different and super recordings of Mozart’, says the violinist, ‘but I think it is important to enjoy the music you have heard a thousand times and will hear a thousand times more with new eyes and simply allow the music to play.’
There can barely be a top-flight violinist alive for whom these five works aren’t practically daily companions. Skride approaches them like old friends, never taking the sparseness of expression or articulation markings in the scores for granted. Her identification with each work shines through in the cadenzas, each of her own devising but not a single one seeking to break out of the world in which it sits. The Music School of the university in Örebro, where the Swedish CO makes its home, offers a fairly ample acoustic which provides an inviting halo around the orchestra; only in a few places such as the First Concerto or the finale of the Third does the sound become a mite congested. On the other hand, the pizzicato in that finale’s central Andante episode pings gloriously.
Aadland has many years of experience in music of this period and ensures an ideal balance between instruments, with the horns especially encouraged not to be shy. He runs a tight ship in terms of accompaniment but Skride remains the genius loci, egging on her colleagues and even rushing the occasional fence in her eagerness. She’s slightly spotlit in the aural picture but not to an unnatural extent. The overall impression is of long takes captured with as much ‘as-live’ ambience as possible, the odd undamped string attesting to the in-the-moment creativity identified by Aadland. She exploits the full range of colours available to her and, at moments such as the ‘Turkish’ episode in the Fifth Concerto, encourages a kaleidoscope of effects from her orchestral accomplices.
That this set enters a crowded marketplace goes without saying. But music-making such as this, with more than a splash of individuality and a palpable recreative spirit, is worthy of anyone’s attention.
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