Shopping Cart

0 Items in Cart
Mozart Wind Concertos

Scottish Chamber Orchestra

Mozart Wind Concertos

CKD 273 (Linn Records)
Bookmark and Share

Compact Disc

$22.00

Studio Master

FLAC 24bit 44.1kHz 669.8MB $24.00

Studio Master

ALAC 24bit 44.1kHz 688.4MB $24.00

CD Quality

FLAC 16bit 44.1kHz 309.7MB $13.00

CD Quality

ALAC 16bit 44.1kHz 319.4MB $13.00

MP3

MP3 320k 44.1kHz 165.8MB $11.00
Prices shown in US Dollars



Listen

Tracks: Listen and Download

Format
Track Time Listen
1
Flute Concerto in G K.313 Allegro maestoso

Flute Concerto in G K.313 Allegro maestoso

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Alison Mitchell - flute
9:11 Play $3.40
2
Flute Concerto in G K.313 Adagio non troppo

Flute Concerto in G K.313 Adagio non troppo

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Alison Mitchell - flute
9:22 Play $3.40
3
Flute Concerto in G K.313 Rondo: Tempo di menuetto

Flute Concerto in G K.313 Rondo: Tempo di menuetto

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Alison Mitchell -flute
7:34 Play $3.40
4
Bassoon Concerto in B flat K.191 Allegro

Bassoon Concerto in B flat K.191 Allegro

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Ursula Leveaux - bassoon
7:06 Play $3.40
5
Bassoon Concerto in B flat K.191 Andante ma adagio

Bassoon Concerto in B flat K.191 Andante ma adagio

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Ursula Leveaux - bassoon
6:47 Play $3.40
6
Bassoon Concerto in B flat K.191 Rondo: Tempo di menuetto

Bassoon Concerto in B flat K.191 Rondo: Tempo di menuetto

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Ursula Leveaux - bassoon
4:21 Play $1.70
7
Clarinet Concerto in A Allegro

Clarinet Concerto in A Allegro

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Maximiliano Martin - clarinet
12:03 Play $5.10
8
Clarinet Concerto in A Adagio

Clarinet Concerto in A Adagio

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Maximiliano Martin - clarinet
7:29 Play $3.40
9
Clarinet Concerto in A Allegro

Clarinet Concerto in A Allegro

Composer Wolfgang Amadeus Mozart
Conductor Alexander Janiczek
Soloist Maximiliano Martin - clarinet
8:14 Play $3.40
Total Running Time 72 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

Section principals Alison Mitchell (flute), Ursula Leveaux (bassoon) and Maximiliano Martín (clarinet) celebrate the 250th anniversary of the birth of Wolfgang Amadeus Mozart.

The SACD layer is both 5.1 channel and 2-channel. The Studio Master files are 44.1kHz / 24-bit.

Download includes - cover art, inlay, booklet
Alexander Janiczek

Alexander Janiczek

Alexander Janiczek is highly sought after as a director, soloist, guest leader and chamber musician.
profile & recordings >>
Maximiliano Martin

Maximiliano Martin

Young Spanish clarinettist Maximiliano Martin is rapidly establishing himself as one of the most talented and charismatic musicians of his generation. Maxi already has many fans as the popular Principal Clarinet for the Scottish Chamber Orchestra. 
profile & recordings >>
Scottish Chamber Orchestra

Scottish Chamber Orchestra

The Scottish Chamber Orchestra is one of Scotland’s foremost cultural ambassadors. The Linn series features performances conducted by Robin Ticciati, Alexander Janizcek, Joseph Swensen and Sir Charles Mackerras.
profile & recordings >>
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

Mozart is one of the most enduringly popular classical composers. He is responsible for over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music.
profile & recordings >>

Produced by Tim Oldham

Recorded at the Usher Hall, Edinburgh, 5-7 June 2005
Engineered by Philip Hobbs
Post Production by Julia Thomas, Finesplice UK

Scottish Chamber Orchestra dir. Alexander Janiczek
Alison Mitchell – flute
Ursula Leveaux – bassoon
Maximiliano Martín - clarinet

The main theme in the Bassoon Concerto’s first movement, heard at the start and repeated by the solo on its first entry, centres on the bassoon’s most vocal tenor register, but with an initial motif of a bold descent through two octaves, designed to demonstrate the instrument’s wide range. This theme, in the Concerto’s opening bars, also brings into striking prominence the orchestra’s high-pitched B flat horns. The opening tutti already shows Mozart’s knack of presenting an extended series of contrasting ideas in such a way that the succession has the naturalness and spontaneity of a lively conversation. The end of the tutti is signalled by an emphatic unison rising scale, used as punctuation throughout the movement. In the middle section, where it appears most frequently, Mozart cleverly shortens this idea by degrees, so its appearance is never predictable. Another idea, which serves as second subject, is first heard as a single violin line with accompaniment. Instead of repeating this, the bassoon adds a counterpoint, only playing the original theme when it returns for a final time, when the violins play the counterpoint.

The Andante ma adagio (the unusual indication means “moving, but slowly”) takes the form of an aria, its soft, sensuous mood enhanced by the colour of muted strings. Again, the solo melodies concentrate on the bassoon’s plangent tenor register; occasional lower notes act as a dramatic reinforcement of the bass line, with a particularly memorable passage in which a series of these bass notes leads down to the bassoon’s very lowest pitch. In an era when many concerto slow movements were accompanied by strings alone, Mozart characteristically gives prominence to the oboes, not just in the tutti sections, but accompanying and in dialogue with the soloist.

The Bassoon Concerto’s Rondo begins with what sounds like a complete minuet played by the orchestra, and when the bassoon enters it’s with the beginning of a variation, soon, however, branching off into new ideas. Two further episodes, separated by shortened repeats of the orchestral minuet, are heard before the soloist gets a chance to play this main theme. It’s a crucial moment, preceded by a pause and a short cadenza, and gives the movement an extra dimension.
The Flute Concerto’s opening Allegro maestoso, with pointed, march-like rhythms, has a character that balances vivacity and stateliness. The first tutti is compact – just thirty bars – but this is the only concession to the requirement for a “small, short concerto”; these opening ideas are expanded by flute and orchestra to generous proportions. Indeed, the majestic style of the movement suggests that maybe Mozart had in mind the playing of the experienced professional, Wendling, rather than the amateur, Dejean.

The enchanted atmosphere of the Adagio recalls the mood and sonorities of the slow movement of the G major violin concerto of 1775 (K216); both pieces are in D major, with muted strings and flutes instead of oboes in the orchestra’s wind section. And in both movements the soloist projects a calm cantilena above an accompaniment that’s full of movement, and both feature a final return by the soloist after the cadenza to the opening melody. The solemn rising unison at the start, however, comes as a pre-echo of the great Adagio in the Gran Partita (K361) for wind instruments. The finale, another rondo in minuet tempo, brings the soloist in at the outset, contrasting the lightly accompanied solo statement of the theme with the sonorous orchestral version that follows. This same sequence recurs whenever the theme is repeated, but each time the flute finds a new way of ornamenting the melody, the decorations then repeated by the orchestra. In between, the episodes feature several brilliant solo passages, but Mozart is never content for long to leave the orchestra just to provide an accompaniment, delighting in bringing it forward to share in lively dialogue with the soloist.

In the 1779s, as we’ve seen, Mozart wrote concertos for a number of different instruments, but in the next decade we find him focussed more narrowly on his career as pianist/composer; the horn concertos written for Joseph Leutgeb are the only non-keyboard ones from the 1780s. In 1791, however, he turned to an instrument for which he had not previously written a concerto. For his friend, the court clarinettist Anton Stadler, he had already written two magnificent chamber works – the Trio with piano and viola, K498, and the Quintet, K581, plus unfinished drafts for two other quintets, and, of course, remarkable clarinet parts in operatic and orchestral music (where the two clarinettists would have been Stadler and his brother Johann). The Concerto was not composed for a standard clarinet in A but for an instrument Stadler had developed, extending the instrument’s lower range by four notes. The autograph score has not survived, and when the Concerto was first published after Mozart’s death, the solo part was adapted to suit an ordinary clarinet. For this performance, Maximiliano Martin plays a clarinet with the usual range, but has adapted the text of the first edition to make the best use of the clarinet’s lowest register.

In the thirteen years since the Flute Concerto, Mozart’s style had changed considerably. Instead of the slightly formal air of the earlier work’s opening, the Clarinet Concerto starts quietly and without seeking any dramatic effect. Indeed, the whole work can be seen as an essay in light and shade: in the solo part, between the bright upper register and the dark lower notes, with the two often opposing one another in dramatic fashion. Then there’s the contrast between the full, mellifluous orchestral sound and the intimate effect of many delicately scored passages for clarinet with upper strings, like the opening of the rondo finale. The characteristic sound of this concerto relates to its unusual orchestration, with pairs of flutes, bassoons and horns added to the strings – Mozart clearly didn’t want to oppose the clarinet’s sound to the more incisive tone of the oboe. The most glorious orchestral moments come in the Adagio, where the clarinet’s statements of the hymn-like theme are taken up by the orchestra, which plays the role of a chorus inspired by a solo singer. This Adagio’s simplicity of design, with regular phrase lengths that are only broken once or twice by the soloist, to avoid monotony and for expressive effect, contrasts with the elaborate, typically Mozartean play of different motifs in the outer movements.
Duncan Druce

The SCO crosses the Pond
20 October 2010
Orchestra announces 4 US dates
more >>

Be the first to add a customer recommendation.

Please Login or Register to write a customer recommendation.
Atlanta Audio Society
SCO soloists savor Mozart concertos...
more >>

Hi-Fi Choice
4 Stars
Martin's playing has the easy virtuosity that only top class musicians can achieve.
more >>

Audiophile Audition
4 Stars
Three superb concertos, three superb soloists, and a superb hi-res recording
more >>

The Herald
5 Stars
Very fine, beautifully-paced performances, with the SCO, in exquisitely sensitive, responsive form
more >>

The Scotsman
4 Stars
A recording full of "energetic freshness"
more >>

John O'Groat Journal
The recording is excellent in all aspects
more >>

06 March 2014 to 06 March 2014
Scotland
Queen's Hall, Edinburgh Scotland UK
Mozart's 'Jupiter'

07 March 2014 to 07 March 2014
Scotland
City Halls, Glasgow Scotland UK
Mozart's 'Jupiter'

10 March 2014 to 10 March 2014
Scotland
Duns Volunteer Hall 11:00, Langtongate, Duns, TD11 3AF, Scotland, United Kingdom
Big Ears, Little Ears

12 March 2014 to 12 March 2014
Scotland
Younger Hall 11:00, St Andrews, Scotland, United Kingdom
Big Ears Little Ears

15 March 2014 to 15 March 2014
Scotland
Cowdray Hall, Aberdeen Art Gallery 11:00, Aberdeen, scotland, United kingdom
Big Ears Little Ears

19 March 2014 to 19 March 2014
Scotland
Younger Hall, St Andrews Scotland UK
Slavonic Dances

20 March 2014 to 20 March 2014
Scotland
Queen's Hall, Edinburgh SCotland UK
Slavinic Dances

21 March 2014 to 21 March 2014
Scotland
City Halls, Glasgow Scotland UK
Slavonic Dances

23 March 2014 to 23 March 2014
Scotland
Queen's Hall, Edinburgh Scotland UK
Chamber Concert March 2014

27 March 2014 to 27 March 2014
Scotland
Usher Hall, Edinburgh Scotland UK
Isserlis plays Dvorak

28 March 2014 to 28 March 2014
Scotland
City Hall, Glasgow Scotland UK
Isserlis plays Dvorak

29 March 2014 to 29 March 2014
Scotland
Music Hall, Aberdeen Scotland UK
Isserlis plays Dvorak

03 April 2014 to 03 April 2014
Scotland
Queen's Hall, Edinburgh Scotland UK
Mass in C Minor

04 April 2014 to 04 April 2014
Scotland
City Halls, Glasgow Scotland UK
Mass in C Minor

10 April 2014 to 10 April 2014
Scotland
Usher Hall, Edinburgh Scotland UK
Currie plays Veni, Veni, Emmanuel

11 April 2014 to 11 April 2014
Scotland
City Halls, Glasgow Scotland UK
Currie plays Veni, Veni, Emmanuel

23 April 2014 to 23 April 2014
Scotland
Younger Hall, St Andrews Scotland UK
Benedetti plays Mozart

24 April 2014 to 24 April 2014
Scotland
Usher Hall, Edinburgh Scotland UK
Benedetti plays Mozart

25 April 2014 to 25 April 2014
Scotland
City Halls, Glasgow Scotland UK
Benedetti plays Mozart

26 April 2014 to 26 April 2014
Scotland
Music Hall, Aberdeen Scotland UK
Benedetti plays Mozart

02 May 2014 to 02 May 2014
Scotland
City Halls, Glasgow Scotland UK
Mozart and Strauss

03 May 2014 to 03 May 2014
Scotland
Queen's Hall, Edinburgh Scotland UK
Mozart and Strauss

04 May 2014 to 04 May 2014
Scotland
Eden Court Theatre, Inverness, Scotland, United Kingdom
Mozart and Strauss

08 May 2014 to 08 May 2014
Scotland
Usher Hall, Edinburgh Scotland UK
Beethoven's Ninth

09 May 2014 to 09 May 2014
Scotland
City Halls, Glasgow Scotland UK
Beethoven's Ninth

15 May 2014 to 16 May 2014
Scotland
Queen's Hall, Edinburgh Scotland UK
Anderszewski plays Mozart

16 May 2014 to 16 May 2014
Scotland
Queen's Hall, Edinburgh, Scotland, United Kingdom
Anderszewski plays Mozart