---
product_id: 191269770
title: "Mozart: Sinfonia Concertante"
brand: "wolfgang amadeus mozartyakov kreizbergnetherlands chamber orchestrajulia fischergordon nikolic"
price: "259 zł"
currency: PLN
in_stock: true
reviews_count: 9
url: https://www.desertcart.pl/products/191269770-mozart-sinfonia-concertante
store_origin: PL
region: Poland
---

# Mozart: Sinfonia Concertante

**Brand:** wolfgang amadeus mozartyakov kreizbergnetherlands chamber orchestrajulia fischergordon nikolic
**Price:** 259 zł
**Availability:** ✅ In Stock

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- **What is this?** Mozart: Sinfonia Concertante by wolfgang amadeus mozartyakov kreizbergnetherlands chamber orchestrajulia fischergordon nikolic
- **How much does it cost?** 259 zł with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.pl](https://www.desertcart.pl/products/191269770-mozart-sinfonia-concertante)

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## Description

Mozart: Sinfonia Concertante

## Images

![Mozart: Sinfonia Concertante - Image 1](https://m.media-amazon.com/images/I/71+t7+tS-QL.jpg)
![Mozart: Sinfonia Concertante - Image 2](https://m.media-amazon.com/images/I/61vnyXNnn8L.jpg)
![Mozart: Sinfonia Concertante - Image 3](https://m.media-amazon.com/images/I/51QqGcprSeL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Kreizberg, Fischer, Nikolic and Mozart
  

*by S***T on Reviewed in the United States on October 22, 2009*

Competent and entertaining.  Excellent sound quality.  Kreizberg does Mozart in a sort of romantic way (I first heard him in a Los Angeles Phil program including a Mozart piano concerto; romantic style also).  But he does it quire well, one does not mind.  Fischer and Nikolic go along with the game plan.  A nice disk.

### ⭐⭐⭐⭐ 







  
  
    not an unqualified endorsement
  

*by D***E on Reviewed in the United States on August 2, 2012*

I've been bothered by the same features pointed out by reviewer J. Scott Morrison, but less in the Sinfonia Concertante than in the Concertone (which I would certainly NOT call a "fairly negligible piece": a Triple, and even, thanks to the addition of an obligato cello, a Quadruple Concerto in all but name, it is a marvellous composition). There is a little too much resonance and thickness on the strings, making the Netherlands Chamber Orchestra sound like a larger orchestra than it probably is, and losing not only some of the music's Serenade-like intimacy and timbral character, but also some of its jubilant explosiveness in the first movement. In the "Andantino grazioso",  the obligato cello first doesn't sound at all like an added solo instrument but as a plain orchestral section, and it is only at 4:19, in its dialogue in triplets with oboe, that the solo cello seems used; the wonderful little solo of horns at 6:31 in the same movement is also hardly audible, and the music loses some of its wonderful character.An absurd decision was to have a continuo harpsichord play in the orchestral introductions of all three movements and in the Finale's coda: it isn't written and it is doubtful that it was done in Mozart's time, plus the instrument is recorded so dimly that you can hardly hear it (just vague clanging punctuations), so why bother?As J. Scott Morrison noted, it isn't just when he's playing the viola that Nikolic has a somewhat grainy and nasal tone, lacking in luminosity, making his dialogues with Fischer in the Concertone sound like a duet of Soprano I and Soprano II rather than of two Soprano Is. It might have been an acceptable option, but, other than the fact that the timbral characteristics of both instruments don't really match, there are spots where Nikolic's timbre is on the verge of being unpleasantly nasal (7:04 into the "Andantino grazioso" for instance).But then, whatever these sonic or timbral glitches, Kreizberg and his soloists offer a winning performance in the Finale of Concertone and the two outer movements of Sinfonia Concertante, thanks to their dynamic tempos and jubilant music making. Not that the Finale of Sinfonia Concertante really stands out in that respect: it is suitably lively and exuberant, but no more than any good standard version (Oistrakh paced it alike in 1972, 

  
Mozart: Sinfonia Concertante, KV 364 in E Flat Major, Concertone KV 190 in C Major, Adagio KV 261, Rondo KV 269









  
  
    
  , and was even more lively in 1960 with Barshai, 

  
David Oistrakh Plays Doubles









  
  
    
   - to say nothing of Heifetz, 

  
Double Concerto









  
  
    
  ). But the first movement does: these are not quite the tempi of Heifetz, but they go in that direction, and the result is wonderfully lively. As for the Finale of Concertone, there is a puzzling contradiction in Mozart's indication for it: "Tempo di Menuetto", which seems to point to a rather pedestrian pacing (the menuetto was no rock-and-roll, but an elegant aristocratic dance), to which he adds "Vivace". A certain interpretive tradition (Oistrakh for instance, but also Jaap Schröder leading the Smithsonian Chamber Orchestra on period instruments in 1986, 

  
Mozart Edition Vol. 1: Sinfonia Concertante K. 364 & Concertone K. 190









  
  
    
  ) has clearly favored the Menuetto and disregarded the "vivace"; hearing Kreizberg shows how much more lively, effective and exciting a true Vivace is. This IS rock and roll after all - 18th century version of it.The Sinfonia Concertante can also take the "grand concerto" sonic perspective better than the Concertone, and the orchestral horns and oboes do come out with sufficient character. In the middle "Andante" as well, although the performers take it, as is custom, slower than what Mozart's tempo indication seems to imply (it is the same tempo as Harnoncourt, 

  
Mozart: Sinfonia Concertante, Violin Concerto, Kremer, Kashkashian









  
  
    
  ), the music can do with that kind of romanticizing of textures and emotions, pushing the Sinfonia in the direction of those later compositions best-loved by the Romantic generation, Don Giovanni and the Requiem; Kreizberg does that very well (just listen to the dynamic swells at 0:27), and the two soloists develop fine pathos, especially in the cadenza. But go to Heifetz to hear the emotional turbulence conveyed by a true "Andante".Not an unqualified endorsement, then. Mainly because Nikolic isn't a top-rate partner, and because of the sonic and interpretive shortcomings in the Concertone, there are better offerings of these two works.

### ⭐⭐⭐⭐ 







  
  
    **** 1/2 Musically delightful, but the recorded sound is odd
  

*by H***T on Reviewed in the United States on October 28, 2013*

If I didn't already know Mozart's glowing Sinfonia concertante for violin and viola, I could easily have missed the entry of the soloists. Julia fischer and her partner, Gordan Nikolic, are miked very differently from any other version I've heard, being placed in the thick of the orchestral sonority so that they blend in instead of standing out front and center. was this deliberate? As Scott Morrison points out, such a perspective is more true to the concert hall. There might be another reason. In Baroque concertante style, the solo group usually merges with the whole ensemble in the ripieno or tutti passages.  Maybe the engineers or performers in this recording want to achieve that effect.In any case, Fischer and Nikolic, vary from the traditional virtuoso soloists (as in my old EMI recording with David and Igor Oistrakh) in ot grabbing the limelight. Their playing is elegant and sonically recessed - either you'll like it or you won't. Previous reviewers seem to have split down the line. I was completely engaged, and no small part was played by Yakov Kreizberg's  warm, buoyant accompaniment. The late russian conductor rose with the young Fischer and the PentaTone label. Here he delivers some of his most appealing work, abetted by lovely recorded sound.I first heard the bright, engaging Concertone K. 190 on an LP from the Marlboro Festival that I can't locate on CD.  As a previous reviewer notes, the solo instruments are actually four: two violins, oboe, and cello.  Hence the name "big concerto" (Concertone in Italian), I suppose. enjoyable as the work is, the musical quality doesn't quite match Mozart's other two concertante works, the famous one for violin and viola and the less well known one in E-flat for four winds.  That Kreizberg and his soloists give romantically expressive - but not excessive - readings appeals to me. In all, if it weren't for the odd miking of the major work, this Cd would deserve an unqualified recommendation.

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*Product available on Desertcart Poland*
*Store origin: PL*
*Last updated: 2026-03-14*