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Mozart, WA - Violin Concerto No 5 in A Major, K 219 - Violin and Piano - Kurt Guntner - Henle
Mozart, WA - Violin Concerto No 5 in A Major, K 219 - Violin and Piano - Kurt Guntner - Henle
Sometimes known as the "Turkish concerto" because of the Turkish-inspired secondary theme of the final rondo, Mozart's Violin Concerto No. 5 in A Major is one of the most frequently performed of his five violin concertos. More mature than the third concerto, and less ebullient than the fourth, this concerto follows an unusual form in its first movement - the orchestra gives a typical Allegro introduction; then, oddly, the violin enters with a brief Adagio section, sweet and subdued like the calm before a storm; and suddenly, violinist and orchestra break into the true exposition, with its thoroughly Mozartean theme. The second movement is searingly lovely, and the last movement is vigorously energetic. This concerto is truly one of the gems of Mozart's catalogue!
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Mozart, WA - Violin Concerto No 5 in A Major, K 219 - Violin and Piano - Kurt Guntner - Henle
Sometimes known as the "Turkish concerto" because of the Turkish-inspired secondary theme of the final rondo, Mozart's Violin Concerto No. 5 in A Major is one of the most frequently performed of his five violin concertos. More mature than the third concerto, and less ebullient than the fourth, this concerto follows an unusual form in its first movement - the orchestra gives a typical Allegro introduction; then, oddly, the violin enters with a brief Adagio section, sweet and subdued like the calm before a storm; and suddenly, violinist and orchestra break into the true exposition, with its thoroughly Mozartean theme. The second movement is searingly lovely, and the last movement is vigorously energetic. This concerto is truly one of the gems of Mozart's catalogue!
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Sometimes known as the "Turkish concerto" because of the Turkish-inspired secondary theme of the final rondo, Mozart's Violin Concerto No. 5 in A Major is one of the most frequently performed of his five violin concertos. More mature than the third concerto, and less ebullient than the fourth, this concerto follows an unusual form in its first movement - the orchestra gives a typical Allegro introduction; then, oddly, the violin enters with a brief Adagio section, sweet and subdued like the calm before a storm; and suddenly, violinist and orchestra break into the true exposition, with its thoroughly Mozartean theme. The second movement is searingly lovely, and the last movement is vigorously energetic. This concerto is truly one of the gems of Mozart's catalogue!
