Mozart: 3 Violin Concertos The English Concert & Andrew Manze

• 1 I. Allegro 09:03
• 2 II. Adagio 08:21
• 3 III. Rondo: Allegro - Andante - Allegretto - Tempo primo 06:46
• 4 I. Allegro 08:26
• 5 II. Andante cantabile 07:00
• 6 III. Rondo: Andante grazioso - Allegro ma non troppo 07:17
• 7 I. Allegro aperto - Adagio - Allegro aperto 09:25
• 8 II. Adagio 10:23
• 9 III. Rondo: Tempo di Menuetto - Allegro Tempo di Menuetto 09:03
• Total Runtime 01:15:44

Info for Mozart: 3 Violin Concertos

The present three violin concertos were completed during the last four months of 1775. After the success of his operas La finta giardiniera in Munich in January, 1775, and Il Ré pastor home in Salzburg in April, Mozart was now back in his seat, earning a modest salary as a violinist at the Episcopal court. His employer Count Hieronymus Colloredo was rarely helpful when it came to the Mozart family’s extra-mural activities but he was a keen amateur violinist, so performing entertaining violin concertos was perhaps one of the better ways to keep in his good books. In addition, Mozart was working alongside the Vice- Kapellmeister, his father Leopold, who had taught him the violin and whose letters are peppered with parental pressure on the subject. “Every time I come home I succumb to a feeling of melancholy, for as I draw near to our house I always half expect to hear the sound of your violin.” (6 October, 1777). “Have you been practising the violin at all while in Munich?” (9 October, 1777). “Your violin is hanging on its nail, of that I’m sure” (a reference to a common way of storing a violin in the 18th century, by tying a ribbon to its scroll and hanging it on the wall; 27 November, 1777). Writing and playing violin concertos must have been a good way to keep his father happy as well as Colloredo.

The English Concert
Andrew Manze, conductor, solo violin

Andrew Manze
like many early music specialists, had a broad and in many ways academic upbringing. Having read Classics at Cambridge, he then studied violin at London’s Royal Academy of Music and the Royal Conservatory of The Hague, under Simon Standage and Marie Leonhardt. This gave him the chance to join the Amsterdam Baroque Orchestra, leading it between 1989 and 1993, and soon after he began his association with harpsichordist Richard Egarr, resulting in the release of a number of recordings. Manze also formed La Romanesca at around the same time with harpsichordist John Tell and lutenist Nigel North, with whom he recorded and performed a variety of seventeenth-century music.

Also known as a conductor/director, Manze has worked with The Academy of Ancient Music and The English Concert; in the field of period performance he has performed with La Stravaganza (Cologne), the Philharmonia Baroque Orchestra (San Francisco) and the Orchestra of the Age of Enlightenment. His interest in rhetorical and historical aspects of music performance has led him to apply similar principles to much later music, including that of the Second Viennese School.

Manze’s performance style in some of the examples selected here reveals very much what one has come to expect of so-called Baroque violin playing: a clean, almost ascetic tone quality, garnished by the richness and softness of gut strings, a mainly senza-vibrato tone (although enlivened, occasionally, by a credible reconstruction of the kinds of wide, slow and very obvious ornamental vibrati as described in eighteenth-century violin treatises) and a bright, clean attack. Thus his 1997 Bach E major Concerto and 2001 Handel Sonata in D are interesting historically-informed recordings. The Biber Rosary Sonatas (2004) are equally fine and manage to communicate the exalted state implied by the subject matter through a spaciousness of tempi and lightness of sound.

By contrast, Tartini’s ‘Devil’s Trill’ (1997) and Pandolfi Mealli’s Op. 3 No. 2 (1994) reveal a more experimental, even reckless side to Manze’s musicianship, with jazz-like elements of rhythmic realisation and tonal adaptation (including portamenti and vibrati in the Pandolfi Mealli that sound remarkably similar to those of Stéphane Grappelli!). Manze, who readily acknowledges the influence of jazz on his interpretations, proves via this process that he is free of the charges of academic superiority and scholarly dullness often levelled at many early music specialists. In the process his interest in rhetoric and dramatic declamation is conveyed powerfully. Some listeners may find the finale of his Tartini sonata dramatic to the point of grotesque, but there is a sense that this portrays, evocatively, the dramatic intents of the sonata as a piece of performance art. Perhaps Manze seeks to remind us, as Harnoncourt suggests in his 1988 text, Baroque Music Today, that eighteenth-century music exists beyond the mere pursuit of the beautiful.

Like almost all period performers to date, Manze has yet to hit upon a convincing recipe for delivering classical and Romantic repertoire in a manner that accords sufficiently with contemporaneous precepts. His achievements in the sphere of period-instrument performance of earlier music are, however, most effective and exciting.

The English Concert
is one of Europe’s leading chamber orchestras specialising in historically informed performance. Created by Trevor Pinnock in 1973, the orchestra appointed Harry Bicket as its Artistic Director in 2007. Bicket is renowned for his work with singers and vocal collaborators, including in recent seasons Lucy Crowe, Elizabeth Watts, Sarah Connolly, Joyce DiDonato, Alice Coote and Iestyn Davies.

The English Concert has a wide touring brief and the 2014-15 season will see them appear both across the UK and abroad. Recent highlights include European and US tours with Alice Coote, Joyce DiDonato, David Daniels and Andreas Scholl as well as the orchestra’s first tour to mainland China. Harry Bicket directed The English Concert and Choir in Bach’s Mass in B Minor at the 2012 Leipzig Bachfest and later that year at the BBC proms, a performance that was televised for BBC4. Following the success of Handel’s Radamisto in New York 2013, Carnegie Hall has commissioned one Handel opera each season from The English Concert. Theodora followed in early 2014, which toured West Coast of the USA as well as the Théâtre des Champs Elysées Paris and the Barbican London followed by a critically acclaimed tour of Alcina in October 2014. Future seasons will see performances of Handel’s Hercules and Orlando.

The English Concert’s discography includes more than 100 recordings with Trevor Pinnock for Deutsche Grammophon Archiv, and a series of critically acclaimed CDs for Harmonia Mundi with violinist Andrew Manze. Recordings with Harry Bicket have been widely praised, including Lucy Crowe’s debut solo recital, Il caro Sassone. In October EMI Classics released Sound the Trumpet, a recording of Baroque music for trumpet with Alison Balsom and the English Concert directed by Trevor Pinnock. A recording with music by Handel and mezzo-soprano Alice Coote was released in the autumn of 2014.

The English Concert works with several distinguished guest directors, including violinist Fabio Biondi and harpsichordist Laurence Cummings.

Booklet for Mozart: 3 Violin Concertos