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CHAN 10507
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CHAN 10507

Mozart: Concerto, KV 365/ Sinfonia concertante, KV 364

The Classical Shop
release date: January 2009

Originally recorded in 2008

Artists:

Iona Brown


Vebjørn Anvik

piano

Havard Gimse

piano

Lars Anders Tomter

viola

Iona Brown

violin

Norwegian Chamber Orchestra



Venue:

Eidsvoll Church, Norway


Lommedalen Church, Norway



Producer:

John Fraser

(Sinfonia concertante)

Tony Harrison

(Double Concerto)

Engineer:

Arne Akselberg



Record Label
Chandos Classics

Genre:

Chamber




Total Time - 53:32
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WOLFGANG AMADEUS MOZART

(1756-1791)
   
 

Concerto, KV 365

23:29  
  for two pianos and orchestra  
  in E flat major - in Es-Dur - en mi bémol majeur  
1 I Allegro 9:41
2 II Andante 7:18
3 III Rondeau. Allegro 6:25
 Havard Gimse piano
 Vebjørn Anvik piano
 

Sinfonia concertante, KV 364

30:14  
  for violin, viola and orchestra  
  in E flat major - in Es-Dur - en mi bémol majeur  
4 I Allegro maestoso 13:35
5 II Andante 10:14
6 III Presto 6:19
 Lars Anders Tomter viola
 Iona Brown violin
In this much requested re-issue, Chandos presents the Norwegian Chamber Orchestra performing Mozart’s Concerto for two pianos and Sinfonia concertante.

Under Iona Brown’s direction the Norwegian Chamber Orchestra became one of the finest such orchestras in the world.

Both these works were written in Salzburg. The Concerto for two pianos was intended for performance by Mozart and his sister. With his justly famous Sinfonia concertante, boundlessly energetic in the outer movements and including a slow movement of quite remarkable poignancy, Mozart achieved one of his finest orchestral works before arriving in Vienna.

Gramophone made this recording ‘Critics’ Choice’ on its original release, describing it as bringing ‘performances at once scintillating and polished’.

Classic CD wrote of the performances, ‘Iona Brown has the full measure of these works’ individuality and her direction, always alert to the implications of modulations, tempo and dynamic markings, is outstanding’.

Right off the bat in the first movement of the piano concerto, the orchestral balance is so exquisite that you even hear how the violas and cellos function – no matter how attractive the piano work is, you keep an ear out for the orchestra from start to finish. Part of the reason is that Brown elicits such invigorating impulse and energy from all the player – orchestra and soloists. Their attacks and degrees of shading are not just upbeat but inventive.
American Record Guide



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