Mozart - Violin Concerto No. 3 in G Major, K. 216 (ref.rec.: Arthur Grumiaux, Sir Colin Davis)

Full Album available // Mozart: The 5 Violin Concertos by Arthur Grumiaux
Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 3 in G Major, K. 216
00:00 I. Allegro (2024 Remastered, London 1961)
08:41 II. Adagio (2024 Remastered, London 1961)
16:19 III. Rondeau: Allegro (2024 Remastered, London 1961)

Violin: Arthur Grumiaux
London Symphony Orchestra
Conductor: Sir Colin Davis
Recorded in 1961, at London
New mastering in 2024 by AB for CMRR

Violin Concerto No. 3 in G Major, K. 216. This work, completed on September 12, 1775, is often considered Mozart's most beautiful violin concerto. The combined effects of the violin and the orchestra are marked by a more intimate relationship. The adagio, delightful like a beautiful dream, approaches the French style. This tendency is again evident in the rondo, where passages in different tempos alternate (a common trait in the finales of the three most well-known concertos). An animated movement in 3/8 time is abruptly interrupted by an andante in G minor, which in turn gives way to an allegretto in G major. Also characteristic of the finales are the frequent passages that resemble folk songs, notably the allegretto passage in this rondo...

Among the seven or eight violin concertos attributed to Mozart, the first five concertos (of which the last three are the most well-known) were composed in Salzburg between April and December 1775; these were Mozart's first instrumental works, whose reputation spread throughout Europe. Mozart, who was a talented violinist, composed these concertos for his personal use. His father once wrote to him: "You may not realize how well you play the violin... You could be the best violinist in Europe"; and, after a concert in Augsburg, Mozart, in a letter to his father, said, "The listeners were all amazed, I played as if I were the best violinist in Europe."

The 19-year-old composer's violin concertos are not notable for extraordinary virtuosity, but for their grace, crystalline purity of form, and inventiveness: they overflow with animation and gaiety; they breathe the solid youthful happiness of the joy of life. They also exemplify the "international" character of Mozart's work: the French spirit and Italian cantabile combined with the sense of Germanic architecture.

As a representative of the tradition of the Franco-Belgian school, illustrated by Henri Vieuxtemps, Eugène Ysaÿe, and César Thomson, Arthur Grumiaux was considered a music aristocrat. His relentless pursuit of perfection – somewhat unnerving to those around him – and the purity of his style made him one of the most eminent interpreters of Mozart in the second half of the 20th century, whether in sonatas with Clara Haskil or solo: in 1956, he recorded Mozart's concertos for the first time in Vienna, for the bicentenary of the composer's birth, with Rudolf Moralt. He would make a second recording under the direction of Colin Davis a few years later.

Other Album available // Mozart: The Violin Sonatas Arthur Grumiaux

[classicalmusicreference]

Full Album available // Mozart: The 5 Violin Concertos by Arthur Grumiaux
Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 3 in G Major, K. 216
00:00 I. Allegro (2024 Remastered, London 1961)
08:41 II. Adagio (2024 Remastered, London 1961)
16:19 III. Rondeau: Allegro (2024 Remastered, London 1961)

Violin: Arthur Grumiaux
London Symphony Orchestra
Conductor: Sir Colin Davis
Recorded in 1961, at London
New mastering in 2024 by AB for CMRR

Violin Concerto No. 3 in G Major, K. 216. This work, completed on September 12, 1775, is often considered Mozart's most beautiful violin concerto. The combined effects of the violin and the orchestra are marked by a more intimate relationship. The adagio, delightful like a beautiful dream, approaches the French style. This tendency is again evident in the rondo, where passages in different tempos alternate (a common trait in the finales of the three most well-known concertos). An animated movement in 3/8 time is abruptly interrupted by an andante in G minor, which in turn gives way to an allegretto in G major. Also characteristic of the finales are the frequent passages that resemble folk songs, notably the allegretto passage in this rondo...

Among the seven or eight violin concertos attributed to Mozart, the first five concertos (of which the last three are the most well-known) were composed in Salzburg between April and December 1775; these were Mozart's first instrumental works, whose reputation spread throughout Europe. Mozart, who was a talented violinist, composed these concertos for his personal use. His father once wrote to him: "You may not realize how well you play the violin... You could be the best violinist in Europe"; and, after a concert in Augsburg, Mozart, in a letter to his father, said, "The listeners were all amazed, I played as if I were the best violinist in Europe."

The 19-year-old composer's violin concertos are not notable for extraordinary virtuosity, but for their grace, crystalline purity of form, and inventiveness: they overflow with animation and gaiety; they breathe the solid youthful happiness of the joy of life. They also exemplify the "international" character of Mozart's work: the French spirit and Italian cantabile combined with the sense of Germanic architecture.

As a representative of the tradition of the Franco-Belgian school, illustrated by Henri Vieuxtemps, Eugène Ysaÿe, and César Thomson, Arthur Grumiaux was considered a music aristocrat. His relentless pursuit of perfection – somewhat unnerving to those around him – and the purity of his style made him one of the most eminent interpreters of Mozart in the second half of the 20th century, whether in sonatas with Clara Haskil or solo: in 1956, he recorded Mozart's concertos for the first time in Vienna, for the bicentenary of the composer's birth, with Rudolf Moralt. He would make a second recording under the direction of Colin Davis a few years later.

Other Album available // Mozart: The Violin Sonatas Arthur Grumiaux

[נפתליגרינבלט]

Maybe the best version of mozart violin concerto no 3, all fans of period instruments should listen to this performance

[notaire]

Lebhafte und wunderschöne Interpretation dieses kompakten doch perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der unvergleichlichen Solovioline sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Alles ist wunderbar!

[classicalmusicreference]

Violin Concerto No. 3 in G Major, K. 216. This work, completed on September 12, 1775, is often considered Mozart's most beautiful violin concerto. The combined effects of the violin and the orchestra are marked by a more intimate relationship. The adagio, delightful like a beautiful dream, approaches the French style. This tendency is again evident in the rondo, where passages in different tempos alternate (a common trait in the finales of the three most well-known concertos). An animated movement in 3/8 time is abruptly interrupted by an andante in G minor, which in turn gives way to an allegretto in G major. Also characteristic of the finales are the frequent passages that resemble folk songs, notably the allegretto passage in this rondo...

Among the seven or eight violin concertos attributed to Mozart, the first five concertos (of which the last three are the most well-known) were composed in Salzburg between April and December 1775; these were Mozart's first instrumental works, whose reputation spread throughout Europe. Mozart, who was a talented violinist, composed these concertos for his personal use. His father once wrote to him: "You may not realize how well you play the violin... You could be the best violinist in Europe"; and, after a concert in Augsburg, Mozart, in a letter to his father, said, "The listeners were all amazed, I played as if I were the best violinist in Europe."

The 19-year-old composer's violin concertos are not notable for extraordinary virtuosity, but for their grace, crystalline purity of form, and inventiveness: they overflow with animation and gaiety; they breathe the solid youthful happiness of the joy of life. They also exemplify the "international" character of Mozart's work: the French spirit and Italian cantabile combined with the sense of Germanic architecture.

As a representative of the tradition of the Franco-Belgian school, illustrated by Henri Vieuxtemps, Eugène Ysaÿe, and César Thomson, Arthur Grumiaux was considered a music aristocrat. His relentless pursuit of perfection – somewhat unnerving to those around him – and the purity of his style made him one of the most eminent interpreters of Mozart in the second half of the 20th century, whether in sonatas with Clara Haskil or solo: in 1956, he recorded Mozart's concertos for the first time in Vienna, for the bicentenary of the composer's birth, with Rudolf Moralt. He would make a second recording under the direction of Colin Davis a few years later.

Other Album available // Mozart: The Violin Sonatas Arthur Grumiaux

[costasdouligeris]

Thank you listening this beautiful Mozart concert ❤

[vasanvenugopalan]

To date, these renditions of Mozart violin concerti have yet to be surpassed.

[Ольга-ьзй]

Спасибо каналу за записи шедевров музыкального искусства! 🎼
Очень нравятся ваши аннотации к произведениям❤️ Спасибо!🌷

[Ольга-ьзй]

Это изумительно! 👏 Спасибо за запись! Услада для слуха и души!💖🎼🎶🎻👏👏👏