Mozart Violin Concertos - fresh thinking, 3 great releases

The bounties continue. After just listening to, and thoroughly enjoying, the completely fresh, charming and joyously uplifting complete set of these glorious concertos from the brilliant Kristof Barati on Brilliant Classics, along comes an even more enlightening and rewarding set of the last 3 concertos on Naxos. My oh my, talk about fresh and joyously uplifting! I didn't think Barati's performances could be bettered, but Henning Kraggerud does it! He adds to all the positive attributes of Barati by incorporating some historically informed, authentic playing practices. But not in the simple, ruthless elimination of vibrato (which others have attempted and, to my ears, sound in no way "authentic" at all, just ugly tone). No, Kraggerud and the orchestra do use vibrato (perhaps sparingly, retaining a lovely tone). Instead, Kraggerud gives it all a complete and logical re-think. First and foremost is in the adoption of very swift - and thoroughly appropriate - tempos. We also hear the subtle use of embellishments (the addition of leading upper-note grace-notes and trills beginning from above rather than below). And he plays his own, newly composed cadenzas, which are very appropriate for Mozart's time, yet thoroughly inventive, engaging and rewarding.

Fortunately, Kraggerud is matched in interpretation and involvement by the gloriously crisp playing of the Norwegian Chamber Orchestra, who quite match the Hungarian Chamber Orchestra for Barati. Naxos completes the experience with superlative recorded sound - clean and clear within the perfect acoustic.

Incidentally, Kraggerud is not new to adventurous and fresh approaches to music. He is the same violinist who gave us the three Grieg Sonatas transcribed for orchestra, calling them "concertos", on a wonderful 2013 Naxos release. This Mozart is another example of his fresh and innovative thinking about music. Now, we just need Naxos to complete this Mozart series with the first two concertos, hopefully coupled with the Sinfonia Concertante. At these tempos, all 3 should fit, just as these 3 final concertos all fit easily on the current (single) CD release (66 minutes).
*************************************************************************************************************************************
As I noted in my review of Barati's Brahms Sonatas recording, Brilliant Classics has struck gold with this young violinist. His recordings of the Beethoven Sonatas are sensational as well. I admit I was disappointed with his first concerto recording for Brilliant - a live performance of the Korngold, which was let down by a poor recorded balance and what sounds to be insufficient rehearsal time with the orchestra. However, I am happy to report that these Mozart Concertos are a different matter entirely.

Like the Korngold, these Mozart concertos were recorded live, in concert. This time, Barati eschews a conductor and leads the Hungarian Chamber Orchestra from the soloist spot, ensuring a unanimous approach and interpretation. And we hear a sense of freshness and spontaneity rarely heard in these works. They are played so often, and by violinists who have played them countless times over the course of their careers, that they too often become routine. It is so refreshing to hear a young, fresh and invigorating approach, as on this disc. Barati plays brilliantly (no pun intended), as does the Hungarian Chamber Orchestra. Tempos are swift and articulation is clean and precise all through, lending a historically "accurate" feel to them. The "slow" movements, in particular, flow more quickly than usual, yet with such a natural grace, I can't imagine them played any other way. It all just sounds so right. Going back to other, rather more "traditional" approaches from the good-ol' boys, this music suddenly becomes earthbound and lacking in joy.

But here, the sense of discovery and overt joyfulness permeates every note. And these readings are infused with charm; every player sounds to be enjoying themselves. Fortunately, Brilliant got the recording right. After their near-disaster with the Korngold concerto recording, this one sounds wonderful. The violin is naturally placed in front of the orchestra, but isn't spotlit. And the orchestra is given a perfect perspective and allowed to make a significant contribution with clean precision. My only complaint is that the audience applause has been retained at the end of each concerto (it could easily have been spliced out). It's only an issue because the performances are so enthralling and involving, the clapping comes as a jolt each time!

This set is so excellent, I sincerely hope Brilliant Classics has plans to record a 3rd Mozart disc, combining this brilliant violinist with a violist of a similar persuasion to record the wonderful Sinfonia Concertante, along with the 2 Duos for violin and viola. What a fantastic follow up disc that would be! Brilliant: please!
*************************************************************************************************************************************
There is so much competition - and bounty of riches for us listeners - among the newer batch of youngish violinists, it's difficult to pronounce a favorite. I am a big fan of James Ehnes and Kristof Barati. I am just discovering Philippe Graffin and am just coming across this splendid 2007 Mozart set. I am completely won (bowled) over by his Mozart! This performance of the 3rd Concerto is simply outstanding. It immediately rises to the top of my favorite recordings of this particular concerto for its unmatched sense of freshness, joyousness, spontaneity and sense of discovery. Graffin plays his own cadenzas, which are always a delight, and the entire approach is stylistically appropriate, with perfectly chosen tempos. Indeed, the 3rd movement Rondeau is taken at a true Allegro, quicker than any I can remember, yet so completely natural and correct, hearing it played at any other speed will sound dull.

Likewise, the Sinfonia Concertante is again fresh and stylishly alert. Graffin is joined by the glorious Nobuko Imai, who plays with agility and a gorgeous tone, which never sounds thick (like some) or strained (like others). Again, the feeling of spontanaity abounds. The 2nd movement, in particular, is so rhapsodic and naturally flowing, it almost sounds improvised. And the finale is played Presto (as marked), and dances most delightfully.

Both works benefit from the glorious playing of the Brabant Philharmonic Orchestra. No conductor is specified, so it is assumed Mr. Graffin leads them from the solo spot. Topping it all off is recorded quality of the very highest order from Avie. It is naturally detailed and clear, within a lovely, warm acoustic.

Disc 2 offers rather short measure in the form of the 2 Duos for Violin and Viola. These are most enjoyable and exhibit the same sense of joyfulness and sheer musicianship. These 2 players are a perfect match.

In a day and age when the major labels continue to flood the market with redundant and irrelevant recordings, and endless reissues, it is so refreshing to hear something this fresh and invigorating from enterprising labels like Avie (and Chandos, and many others). I am dismayed, however, that Avie has apparently abandoned this project. Instead they have given us a complete set with Shlomo Mintz (2005), which is good, but in no way distinctive, followed 10 years later by a completely routine set with the latest, flash-in-the-pan "star", Rachel Barton Pine and the 91-year-old Neville Marriner. Avie sometimes has trouble sticking to a project for some reason (evidenced also by their abandoned Gal symphony cycle with Zehetmair, only to start one all over with a different conductor). It is a great pity they did not record the remaining 4 concertos with Graffin and this same orchestra. For what we have here is some of the most glorious Mozart I've heard. It is stupendous music-making.