CDs
Classical
Music DVD's
Hi-Fi's
Ipod's
MP3 Players
Vinyl Records
DVD's
Contact
Products
Best Sellers
Box Sets
CD Albums
CD Singles
Cheap CDs
Classical Music
Compilations
DVDs
Hi-fi systems
Ipods
MP3 Players
Music DVDs
Soundtracks
T shirts & Hoodies
Used CDs
Vinyl Albums
Information
Payment Methods
Delivery
Safe Shopping
----
Best Sellers
Box Sets
CD Albums
CD Singles
Cheap CDs
Classical Music
Compilations
DVDs
Hi-fi systems
Ipods
MP3 Players
Music DVDs
Soundtracks
T shirts & Hoodies
Used CDs
Vinyl Albums
Mozart: The Violin Concertos; Sinfonia Concertante
See Larger Image
List Price:
£22.99
Our Price:
£12.98
Availability: Usually dispatched within 24 hours
Manufacturer:
Universal Classics
Average Customer Rating:
Binding:
Audio CD
EAN:
0028947773719
Format:
Box set
Label:
Universal Classics
Manufacturer:
Universal Classics
Number Of Discs:
2
Publisher:
Universal Classics
Release Date:
2008-07-14
Running Time:
128
Studio:
Universal Classics
Related Items
Mozart: Symphonies Nos. 29, 33, 35 "Haffner", 38 "Prague", 41 "Jupiter"
Mahler Symphony No. 3 (Lucerne Festival Orchestra/Claudio Abbado) [2007] (NTSC)
Mozart: Symphonies 38-41
Bel Canto Spectacular
The Private Patient (Adam Dalgliesh Mystery)
Spotlight customer reviews:
Customer Rating:
Summary:
Less Haste More Speed
Comment:
I generally prefer 'period performances,' Rachel Podger's Mozart violin sonatas for instance, and so I have long been looking for a good 'gut string' version of Mozarts violin concertos. Monica Huggett's 'early music' version (Virgin Records) was lush and expansive, but rather anodyne. Who better, I thought, to put some excitement into these old warhorses than Carmignola? After two thorough listenings I must answer this question both a yes and a no. The recording is clear and the sound generally crisp and vibrant and Carmignola's playing is all that one could ask for. However, as Carmignola happily crows in the liner notes, these are very FAST, up tempo versions. It certainly differs them from their competition, but to what end? The energy is there, but sometimes brisk becomes hurried and in slow movements hurried does not work at all. One gets a feeling that the orchestral director and Carmignola need to catch the last train home and are pushing things a bit. Some of the beauty of these pieces is simply not allowed to breath. I want to like it, but after a second listening I am more frusrated by their interpretation than interested. For example the Adagio of the First concerto comes in at 7'17 rather than the 9'+ of most other recordings. What is the point of the hurry? I think I still prefer Pinchas Zukerman's from the 1980s with the Saint Paul Chamber Orchetra... Now there was gusto WITH beauty.
More Reviews