Mozart Adagios

Constantine Orbelian
Moscow Chamber Orchestra

Corey Cerovsek, violin
Carol Rosenberger, piano
Allan Vogel, oboe

Concerto No. 20 in D Minor for Piano and Orchestra, K. 466, Romance / 9:35
Divertimento No. 1 in D, K. 136, Andante / 6:20
Concerto No. 5 in A for Violin and Orchestra, K. 219, Adagio / 10:18
Divertimento No. 3 in G, K. 138, Andante / 6:11
Concerto No. 23 in A for Piano and Orchestra, K. 488, Adagio / 7:09
Concerto in C for Obo and Orchestra, K. 314, Adagio non troppo / 7:16
Concerto No. 4 in D for Violin and Orchestra, K. 218, Andante cantabile / 7:21
Concerto No. 21 in C for Piano and Orchestra, K. 467, Andante / 7:20
Divertimento No. 2 in B-Flat, K. 137, Andante / 5:42
concerto No. 3 in G for Violin and Orchestra, K. 216, Adagio / 8:02

Mozart's slow movements, standing nicely on their own, allow us to focus on one overriding aspect of the composer's genius -- his gift for spinning out a melodic line that gives the impression of great simplicity. Many of the more serene arias in the operas -- primarily those written for women -- are breathtaking in their exalted sense of repose (even, occasionally, when they deal with pain or melancholy); Mozart's capacity for creating a seamless flow of melody never deserted him, and it is as strong in the instrumental works as in the vocal.

There is a personal aspect to a number of the movements in this collection: we know that he wrote the piano concertos for his own use, and it is reasonable to suppose that the same is true of the violin concertos, for he was concertmaster of the court orchestra of the Archbishop of Salzburg when he composed them, and in that capacity he would have been expected to do his fair share of solo performing. A fellow concertmaster, Antonio Brunetti, probably played them as well.

DE3243 / To purchase this CD, visit www.delosmusic.com.

 

 

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