Mozart: 3 Violin Concertos

A nice collection played with loveliness:
I've not been much of a fan of Andrew Manze's period approach. His wiry sound often puts me off and confirms the suspicions many have about period performance technique. I am pleased to say in this release -- while I still haven't fully come to grips with Manze's style and tone -- his playing is warm and vibrant in this CD of Mozart's three best violin concertos. Manze is totally involved in this CD and plays with sweetness and charm most of thie time, using plenty of oomph in the "Turkish" section of the final concerto, to rank with the better period performers in this music. What really establishes this CD as a hit, however, is the remarkable playing and recording of the English Concert, a period band that has been linked to Trevor Pinnock. Their playing is special throughout with woodwind and horn soloes that melt the heart. Their strings are also wonderful, sweeping and broad where need be, and light and delicious in the more delectable sections. The recording is consistent with the playing -- full and broad with a strong bass line and great depth in the sound field. I had read good reviews of this CD and was skeptical based on my past reservations about the soloist. I was able to set aside most of my reservations, although there is the occasional hint of ugly tone displayed now and again during these performances. Never is it enough to stop or delay enjoyment of the music and this CD must now become the top-ranked period performance of these three concertos, besting what was the best recording -- that by and the Augustin Dumay and the Salzburg Camerata from 1998 on DG. I continue to believe Pinchas Zukerman's account with the St. Paul Chamber Orchestra is the best solo playing of these concertos, but the completely inadequate playing and sound of the supporting band removes those CDs (it takes two CDs for these concertos instead of one) from the top rank. People that still cling to the David Oistrakh school of Mozart may want to try Joshua Bell's recent reincarnated 4th and 5th concertos, re-released last year by London on a twofer with some other warhorse concertos. For everyone else, this CD will probably attain the top ranking until something better comes along.

Very Torn:
Writing this review is extremely difficult. When you are reviewing a CD containing instrumental concerti, you are essentially rating three different objects: the music, the orchestra and the soloist. So, coming up with a general "grade" that will do justice to all three is quite hard--especially when you like one of these three dimensions more than the other, as is the case here. So I'll try to evaluate the three dimensions separately, then wrapping it up with a general observation. The Music. Mozart's violin concertos are, in my mind, one of the greatest testaments to the instrument's multifaceted nature. Written in Mozart's early adulthood, they contain a variety of expressions ranging from the youthful and exhuberant to the introverted and melancholic; from the bold and fiery to the tender and delicate. Compared to Baroque violin concertos such as Vivaldi's or Corelli's, the phrases are longer and more lyrical; compared to concertos from the Romantic era, Mozart's have a quicker logical pace and are in general more optimistic in tone. The Orchestra. The English Concert's performance is what really sets this CD apart. There is absoluetly nothing affected or manneristic in the way this orchestra brings Mozart's pages alive: this period-instruments orchestra doesn't hold anything back emotionally, while offering such a perfect balance between the string and the wind section as to rank as one of the very best I've heard. Tempi are just right, dynamics are varied and vibrant, and the character they impart the music is very real and expressive. Two big thumbs up to the English Concert in this recording. The Soloist. This is where I had to deduct a couple stars, unfortunately. I am normally a fan of Andrew Manze, and I think that he has brought the Baroque/Classical violin to incredible heights, more than meriting the accolades he rightfully receives in association with his instrument and his incredible abilities. However, I find that in this recording he shows a propensity for tones that I would only describe as on the anemic side. The full dynamic range Manze displays so successfully in other CDs (e.g. in Tartini's great Devil's Trill recording) is only seldom heard here. In slow movements especially, the violin's voice often thins out into a barely audible flute-like whisper. If used as a special effect, this sound would be incredibly effective; but I find that employed so often--sometimes for entire movements--it becomes an affectation. On the positive side, I really liked the cadenzas played by Manze, which I think are less distracting and more in style than those featured in other period-instrument performances of Mozart's concerti, such as that by Monica Huggett. In conclusion, I still like this CD and I play it quite often. What I like most are the music (of course) and the great job done by the orchestra. But I think that Manze owes it to himself and to his many fans (of whom I am one) to come out with a different version of these concerti in the future--and one in which he makes more use of his great fire.

No need to look further!!:
Whatever this man touches turns to gold, the competion now sounds incredibly staid. Thank you Mozart, and thank you Manze, glorious Harmonia Mundi engineering!

Manze & Mozart fit nicely:
While I have always thought of Andrew Manze as a wonderful exponent of period instrument performance, I approached this recording of Mozart's K.216, K.218 & K.219 violin concertos with some trepidation. Being a fan of Trevor Pinnock's for over two decades, I could not imagine anyone else leading the English Concert. I need not have given the matter a second thought-Manze, Mozart and the English Concert are wonderful together. Manze's solo playing is brisk & lively when need be, as well as beautifully serene when the music demands a more thoughtful tone. He also does a splendid job leading what I consider to be the finest period performance ensemble currently recording-the reknowned English Concert. Manze & his players are also well served by the exceptional Harmonia Mundi sound. This cd is a treasure all the way around.

ANDREW MANZE - CONDUCTOR and VIOLINIST EXTRAORDINAIRE:
MOZART VIOLIN CONCERTOS K216, K218 & K219 ANDREW MANZE ENGLISH CONCERT 5 STARS - HIGHLY RECOMMENDED CD Length: 1 Hours 16 Mins. Date of Recording: 03/2005 RATED 5-STARS by classical music critics as the numero uno authentic period instrument interpretations of Mozart's Violin Concertos K. 216, 218, & 219 K.525, this CD by ANDREW MANZE and the ENGLISH CONCERT is a MUST HAVE CD for ALL MOZART AFICIONADOS! This CD'S three one-of-a-kind masterpiece VIOLIN CONCERTOS K 216, 218 & 219 were composed in the last four months of 1775 to entertain Wolfgang Amadeus Mozart's noble employer and to mollify his father Leopold. VIOLIN CONCERTOS K 216, 218 & 219 clearly show Wolfgang Amadeus Mozart as the wunderkind blossoming into a fully-fledged classical music genius. If you are looking for an excellent CD containing Mozart's three (3) most popular violin concertos played on period instruments, look no further. Andrew Manze performs his own cadenzas on this CD selection. These are splendid performances, musically astute and full of ear-catching detail. The playing of the English Concert under Andrew Manze is simply marvelous, with polished strings and delightful flutes, oboes, and horns. Manze also earns points for his excellent, original cadenzas in each concerto. These are full of virtuosity but also are stylish, clearly in sync with the musical argument--and not a second too long. In general, the quick movements never hang fire as they so often do in traditional performances on modern instruments. The famous "Turkish" interlude in the finale of the Fifth concerto seldom has sounded so emphatically exotic, with col legno bows really slapping against the strings and the ensuing return of the main rondo theme perfectly judged. The sonics also could not be better in stereo or multichannel formats, with ideal balances both within the orchestra and in relation to the soloist. Manze offers his own valid solution to the problem of finding the right balance between the music's high spirits and its inimitably Mozartian lyric grace. CLASSICAL MUSIC CRITICS REVIEWS - ANDREW MANZE, ENGLISH CONCERT "The English Concert and its new leader Andrew Manze appear to be under a magic spell, playing with the kind of panache which makes the spirits sing." ~London Times~ Andrew Manze is "a violinist with extraordinary flair and improvisatory freedom" (BBC Music Magazine), "is the first modern superstar of the baroque violin" (San Francisco Examiner). "Andrew Manze's sense of fantasy permeated every flexible phrase." -The Evening Standard, UK- "I cannot remember such irresistibly graceful playing... Manze makes it clear that he is a virtuoso and not merely leader of the band." The sound is outstanding, with felicitous timbre on the Baroque violin and a subtle but natural surround field." -\o...\c- MINI BIO - ANDREW MANZE CONDUCTOR/VIOLINIST EXTRAORDINAIRE As a conductor, Andrew Manze has a particularly wide range of expertise from the baroque through classical and increasingly 19th and 20th century repertoire. As a violinist, Andrew Manze specialises in music from 1610 to 1830. After reading Classics at Cambridge University, Manze studied the violin with Simon Standage and Marie Leonhardt. Andrew Manze was Associate Director of The Academy of Ancient Music from 1996 to 2003, and Artistic Director of The English Concert from 2003 to 2007, succeeding the founder Trevor Pinnock in this role. From the 06-07 season Andrew Manze has been Principal Conductor of the Helsingborg Symphony Orchestra, Sweden and also holds the title of Artist in Residence with the Swedish Chamber Orchestra.