モーツァルト: ヴァイオリン協奏曲

ベザイデンホウトが指揮者初登場!
ゴルツとのスリリングなモーツァルトのヴァイオリン協奏曲!

フライブルク・バロックオーケストラがゴルツの独奏でモーツァルトのヴァイオリン協奏曲に挑戦しました。なんと名フォルテピアノ奏者クリスティアン・ベザイデンホウトも通奏低音のみならず指揮にまで挑戦。そこではモーツァルト時代の慣習に従い即興を見せているのも興味津々で、贅沢の極みの通奏低音となっています。
ゴルツは1720年カルト・アントニオ・テストーレ製作のバロック・ヴァイオリンを使用。驚くべきパワーと生気に富む演奏で、初めて聴くかのように新鮮な魅力に満ちています。
キングインターナショナル

Whether it is a modern ensemble or a historical instrument group playing, Mozarts violin concertos tend to be given a sweet, rather sentimental sound in line with the music he wrote for Paris in the late 1770s, even though he composed these works several years before he went to Paris. (This may be because Mozart erased the earlier dates on the manuscripts so as to get more mileage out of them.) It is not easy with such popular works to devise an original interpretation, but violinist Gottfried von der Goltz and the Freiburger Barockorchester manage to do so. They draw not on the French style but, as annotator Henning Bey outlines, on opera, with which Mozart had just experienced his first great successes in Italy. That idea completely reorients the performances. Sample the violin entrances, where von der Goltz takes his time as if he were a singer coming on stage. The Turkish elements in the finale of the Violin Concerto No. 5 in A major, K. 219, have the flavor of an operatic scene. Another theatrical element comes from conductor Kristian Bezuidenhout, who leads the orchestra from the keyboard and, from time to time, inserts some fortepiano remarks (a procedure for which there was some contemporary evidence). At the very least, these readings provide a whole new way of hearing the Mozart violin concertos, and listeners are likely to find them extremely refreshing; enough have done so that the album landed on classical best-seller charts in early 2023. ~ James Manheim