What is a Concertone?

 

This was my first introduction to the word too.

To me, Mozart's Concertone sounds like a galante version of the Sinfonia Concertante, or for that matter, a Concerto Grosso.

In fact, while the work calls for two solo violins, one could add oboe and cello for all of the interactions away from the orchestra they are involved in.

Mozart's K. 190 is a charming work, full of smiles. The composer scores the three movements rather sparsely, where the cellos or violas are often alone with the soloists. He also pairs the oboe with the soloists, and the cello gets some action too.

These older recordings, this one from the early 70s, take the final Minuet movement at that dance speed - three beats to a bar in contrast to today's one beat per bar, giving way to the Vivace marking. I prefer the dance tempo, yet I could see listeners of today becoming impatient with such an approach.

To my ears, the famous Sinfonia Concertante from Mozart is more of a Double Concerto, but this is a mere mincing of words and categorizations. The outer movements display a motoric inner rhythm compared to the earlier Concertone, and the whole orchestra tends to play throughout as well. The solo violin and viola have less orchestral interplay as the Concertone too, leading me to the double concerto descriptor.

Under Soviet violinist David Oistrakh and his son Igor Oistrakh, we receive meaty solo string playing with plenty of passion, particularly in K. 364. The senior Oistrakh particularly relishes the viola's lower range, allowing it to growl out. There is no sense of underplaying Mozart here, and I could see some abjure to this strong, incisive approach. I love it!

The Berlin Philharmonic Orchestra is lovely. Listen to their 3-measure approach to the Concertone's first fermata in the central movement; it is done so with such love. This 80s EMI CD favors a bit of the treble, but the sonic tone doesn't obscure what Berlin is so good at.

For some reason, the Concertone was never ported over to EMI's Encore series, as Mozart's violin concertos were with Oistrakh and Berlin. Instead, the composer's Sinfonia Concertante was paired with Oistrakh's playing of Brahms' Violin Concerto with Klemperer at the helm. Well, we still have this one, which comes with Mozart's alternate Adagio and Rondo concertante movements.

 

 

 

 

Works
Concertone in C Major, K. 190 (28.48)
Sinfonia Concertante, K. 364 (31.25)
Adagio in E Major, K. 261 (8.12)
Rondo in B-flat Major, K. 269 (6.33)


Soloists
David Oistrakh, violin

Performers
Berlin Philharmonic Orchestra

Label: EMI
Year: 1972; 1989
Total Timing: 75.49

 

 

 

 

 

This is probably my favorite recording of Mozart's Sinfonia Concertante. It is full of intensity and passion, a rarity nowadays.

I could see someone disliking this approach, though, even if Berlin is a lovely and strong accompanist.

The earlier, smiling Concertone is no mere makeweight, and features both Oistrakhs' commanding playing.

 

 

 

 

 

 

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