The result is highly convincing, as reviews of the previous disc show. But as there is no way for us to know what ‘authentic’ Mozart violin playing sounds like, Tognetti’s approach has been ‘simply to look at the notes Mozart wrote down, and start from there, creating a hybrid hopefully carrying an embodiment of truth’. In his own comments on the recording, Tognetti writes of his and the orchestra’s decision to use gut strings, period wind instruments and a lower than usual pitch, in aim to create ‘a sound which we know Mozart would have recognised’. In spite of their early dates, the concertos demonstrate very clearly Mozart’s tremendous development, and the fourth concerto in particular displays the confidence of the composer both in handling his material and in teasing the audience with the narrative he creates. All Mozart’s works in this genre were written during a few years quite early in his career, &and as Mozart specialist John Irving explains in his liner notes, the composer, who by all accounts was a fine violinist, may have been making a bid for a better position as Konzertmeister at the court in Salzburg where he already held a less distinguished post. There’s little that I need add except that Volume II has followed fairly hard upon its heels and is equally recommendable, especially in the 24-bit flac download".(Brian Wilson, August 2011)Ĭompleting the cycle of Mozart’s violin concertos, begun on BIS-SACD-1754, Richard Tognetti and his Australian Chamber Orchestra offer us the first, second and fourth concerto, along with two shorter works for violin and orchestra: the Adagio in E major and the Rondo in C major. Music Web International: "Dominy Clements made Volume I his Recording of the Month, one of many enthusiastic reviews. Richard Tognetti and the Australian Chamber Orchestra record Mozart Violin Concertos (~ 7 min.) International Record Review: Outstanding (October 2011)
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