Mozart, and the Germans

Finding a really good recording of any given Mozart violin concerto is surprisingly difficult. Technically, the concertos pose no problems to modern violinists (even I used to play them, long ago). But the violinist needs to capture the youth and elegance of Mozart's writing; the orchestra needs to participate with the soloist and exchange musical thoughts; the recording needs to balance soloist and orchestra satisfactorily; and both orchestra and soloist need to capture the spirit and elegance of the 18^th century (though preferably not try to emulate what might have been the exact sound world of the music of nearly 250 years ago).

Arthur Grumiaux has been the Mozart concerto best stand-by for nearly 50 years now and, of more recent recordings, I have enjoyed Arabella Steinbacher and Katrin Scholz. Latest arrival on my player is Frank Peter Zimmerman, with the chamber orchestra of the Bavarian Radio Symphony Orchestra conducted by Radoslaw Szulc. And very good it is, too, providing really all I want for modern performances of these concertos (Zimmerman plays the 1^st, 3^rd and 4^th on the new CD, with the rest scheduled to follow). Stylish violin playing. Excellent orchestral partnership. Good recording (Hänssler Classic) with expert balance. My kind of Mozart (and not an “original instrument” within sound or sight, thank heavens).

Somewhat coincidentally, I have recently had a minor deluge of fine violin and piano recordings, with Thomas Christian in Ernst, and Kirill Troussov and Alexandra Troussova in a recital of Russian short pieces (Dabringhaus und Grimm). Good music and playing and, commendably, excellent recorded sound with expert balance between piano and violin. All the recordings (including the new Zimmermann) come from Germany, and I sense that the German investment in Tonmeister training has really paid off. Scandinavia and the Czech lands also produce excellent modern recordings, but I sense that in too many other countries roving bands of all-purpose recording technicians are often tackling things too unrelated to their normal sound worlds of rock, pop and beat music. Classical music recording is different from recording electronically-amplified “stars” with “backing groups”. Well done the Germans. And maybe not entirely coincidental that my modern trio of fine Mozart concerto players – Zimmermann, Steinbacher and Scholz – are all Germans, resident in Germany.