This is without question the finest set of Mozart violin concertos on period instruments. Claudio Abbado’s set of symphonies with his not-terribly-wonderful period-instrument group may have been vile, but he’s still an excellent concerto accompanist. The smaller forces and subsidiary role conceal the players’ weaknesses, and aside from some fussy staccatos in the opening tutti of Concerto No. 5, Abbado doesn’t micro-manage the music to the point of absurdity. Indeed, he’s aptly lyrical and graceful, and he doesn’t suck the juice out of such episodes as the “Turkish” interlude in the Fifth concerto’s finale. It’s very gratifying to hear him operating in such good form.
None of this would matter if the soloist were not excellent, but Giuliano Carmignola is magnificent. These concertos provide no serious technical challenges to modern players (on whatever instrument), but cultivating a genuine singing tone is always a challenge, and Carmignola has one. It’s a gift. Just listen to the middle movement of the Third concerto, or indeed to any of the slow movements here. This is far superior in sheer timbre to, say, Andrew Manze (HM, who’s quite good), despite the very close microphone placement. The performance of the Sinfonia concertante is also excellent, with violist Danusha Waskiewicz a fully equal participant with Carmignola. Once again, it’s the slow movement that’s especially outstanding: deeply felt, movingly sung, but never heavy. So if you want these pieces on period instruments, this set’s the best choice, at least for now.
