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Mozart/Haydn-Mozart: Sinfonia Concertante; Haydn: Violin Concerti 1 & 4

Mozart: Sinfonia Concertante; Haydn: Violin Concerti 1 & 4 [SACD]
~ Mozart/Haydn

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Product Reviews

Violinist Rachel Podger has secured a name for herself as a master interpreter and performer of all things Baroque and early Classical. Her recent recordings of the complete Mozart violin sonatas thrust her career forward from her already prestigious beginnings as a member of the Palladian Ensemble and Florilegium. This Channel Classics album finds Podger in front of the innovative Orchestra of the Age of Enlightenment performing two Haydn concertos written during his time in the employ of the Esterh zy family, as well as the instantly recognizable Mozart Sinfonia Concertante. Written for Luigi Tomasini, the concertmaster of the Esterh zy Court Chapel, the two concertos are filled with dazzling pyrotechnic displays and soulful, sustained melodies, characteristics that play to Podger's strengths. Any hints of stuffiness or rigidity conjured up when thinking of period instrument performances are at once dispelled with Podger's vitally enthusiastic but well-controlled approach to her instrument. The Orchestra of the Age of Enlightenment likewise focuses on spontaneity, vibrancy, and beauty of tone. Joined by violist Pavlo Beznosiuk, the Mozart Sinfonia Concertante is treated with similar energy and excitement. A change of instrument, bow, and strings results in a warmer, more hushed tone from Podger that provides a nice contrast to the brightness heard in the Haydn. Keen listeners will also notice that the viola is tuned a half-step higher than usual, which was indicated in Mozart's original score. The result here is a brighter, more clearly projecting instrument. ~ Mike D. Brownell, Rovi

Product Notes

Podger astounds with her playing ... Arpeggios are beautifully even, the adagios rightly toned. The outer movements are brim full of Haydn's good nature and the virtuoso aspects are exquisitely played. ... The soloists' years of experience working together tell here, the ensemble between them is faultless, and the timbres they achieve wear well together, too. . . The Orchestra of the Age of Enlightenment contribute a splendid sound, rich and full . . . A release of the highest caliber. --- Audiophile Audition- Nov. issue.

Classical Data

67:58
Concerto
Baroque
Rachel Podger
Rachel Podger, Baroque violinist, is known for her highly accurate, virtuosic playing, outstanding musicianship and understanding of period style, and a cheerful, warm, and decidedly non-stuffy stage presence. Her father was British and her mother German. She was educated in Germany at a Rudolf Steiner school and studied violin. When she returned to England she continued violin studies with David Perry, then was admitted to the Guildhall School of Music and Drama with Pauline Scott and David Takeno as her teachers. She asked to be allowed to study Baroque violin as well as the standard violin with modern set-up, but was told the only Baroque fiddle was already given out to another student. In addition, as she said, "It wasn't really the thing to do in your first year. You were supposed to establish your technique." She did not let this stop her, "So I got hold of an instrument and did it anyway." She surreptitiously took Baroque violin lessons with Micaela Coberti at the Guildhall and often visited Cambridge where her brother, singer Julian Podger, had founded a small ensemble called Trinity Baroque and gave her a chance to play some of the central Baroque repertory. From her second year on she continued to study with Coberti, "legally, as it were." At some point she realized she wanted to be a soloist, that she did not want to be part of a group of violinists in an orchestra (at least not on a back bench), an experience she was frequently encountering even while still at Guildhall as the word got out about her talents and skills. With three friends, she started playing chamber music regularly and had unexpected success. "We didn't realize we were a group until we won a competition" she says of the group, which is called the Palladium Ensemble. It is a group with a unique sound since its bass part is played not by a harpsichord and cello, but by viola da gamba (Susanne Henrich is the gambist) or by one of a number of directly plucked instruments such as guitar, theorbo, or archlute, by William Carter. This gives the group a distinctive, oddly folk or country music sound. Palladium records on the Linn Records label of Scotland. In addition, she was one of the original members of Florilegium, a larger chamber ensemble specializing in 17th to early 19th century music. Palladium and Podger as a soloist soon appeared on major stages in Europe. In 1996, Palladium Ensemble was a headliner in the prestigious international concert series Rising Stars, winning a standing ovation when it appeared in the Amsterdam Concertgebouw. Since then it has appeared in many European cities and festival sites, as well as in North and South America. It also frequently gives radio concerts. In 1997, Podger was appointed Concertmaster (or "Leader") of The English Concert, one of London's leading period instruments orchestras, and played solo with it on many stops on its tour of Eastern Asia. She has a solo recording of the Bach Sonatas and Partitas on the Channel Classics label. Rachel Podger plays a 1739 instrument made by Genoese luthier Pesarinius. ~ Joseph Stevenson, Rovi
Violinist Rachel Podger has secured a name for herself as a master interpreter and performer of all things Baroque and early Classical. Her recent recordings of the complete Mozart violin sonatas thrust her career forward from her already prestigious beginnings as a member of the Palladian Ensemble and Florilegium. This Channel Classics album finds Podger in front of the innovative Orchestra of the Age of Enlightenment performing two Haydn concertos written during his time in the employ of the Esterh zy family, as well as the instantly recognizable Mozart Sinfonia Concertante. Written for Luigi Tomasini, the concertmaster of the Esterh zy Court Chapel, the two concertos are filled with dazzling pyrotechnic displays and soulful, sustained melodies, characteristics that play to Podger's strengths. Any hints of stuffiness or rigidity conjured up when thinking of period instrument performances are at once dispelled with Podger's vitally enthusiastic but well-controlled approach to her instrument. The Orchestra of the Age of Enlightenment likewise focuses on spontaneity, vibrancy, and beauty of tone. Joined by violist Pavlo Beznosiuk, the Mozart Sinfonia Concertante is treated with similar energy and excitement. A change of instrument, bow, and strings results in a warmer, more hushed tone from Podger that provides a nice contrast to the brightness heard in the Haydn. Keen listeners will also notice that the viola is tuned a half-step higher than usual, which was indicated in Mozart's original score. The result here is a brighter, more clearly projecting instrument. ~ Mike D. Brownell, Rovi

Details

Mozart/Haydn
Mozart: Sinfonia Concertante; Haydn: Violin Concerti 1 & 4
Classical & Opera
Classical Composers
10 November 2009
Sacd Podger (Vn)/Beznosiuk (Va Sacd ~ Discs:1 ~ Country:Usa
USA
Channel Classics (Hol) ( CCL )
SACD
29309
723385293095

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