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 |  |  | | | | Track Listings | | | Sinfonia Concertante in E-flat Major (Mozart) | |  | 1. I. Allegro maestoso | 13:20 | | 2. II. Andante | 10:43 | | 3. III. Presto | 6:28 | | Concert Variations (McKinley) | | | 4. Theme: Lamento | 2:13 | | 5. Variation I: Prestissimo | 0:40 | | 6. Variation II: Larghetto | 1:30 | | 7. Variation III: Con forza | 0:49 | | 8. Variation IV: Larghetto | 3:52 | | 9. Variation V: Presto possible e largamente | 1:24 | | 10. Variation VI: Molto maestoso e largamente | 2:16 | | 11. Variation VII: Moderato e molto energico | 2:25 | | 12. Variation VIII and Finale: Con brio e fantastico | 1:57 | | Total time: | 47:45 |
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| | | | | | Music of Mozart and McKinley | | | Our Price: $9.95  | | | | Item Number: MMC2122 | | Audio Format: HDCD | | Genres: Classical\Featured Soloist | | | | Description | | Excerpts from the Liner Notes (by Peter Bates)
The variation form in music has its own variations. Among the many types, there is the “melodic-outline” variation, in which the theme’s melody is recognizable, despite figuration, simplification, or altered rhythm. Primarily used in Wolfgang Amadeus Mozart’s time, this variation retains the theme’s harmony. There is also the “fantasy variation,” which has been popular since the late 19th century. In this form, the variations may only allude to the elements, such as structure and harmony. Sometimes the relationship is purely incidental, even oblique. Other times the thematic elements reveal themselves in bold new arrays.
Alfred Einstein calls Mozart’s radiant Sinfonie Concertante (K. 364) “the creative summit of his Salzburg period, and the crowning achievement in the field of the violin concerto,” apparently forgetting the viola. This radiant work uses the variation form to some extent, but not as a defining characteristic. Despite Einstein’s omission, the most notable aspect of this piece is that it allows the violin and viola solo parts equal treatment, causing their music to grow organically from the orchestral texture.
William Thomas McKinley’s Concert Variations takes a theme that is similar to Mozart’s in its simplicity and gives it a 20th century fantasy-variation treatment. True to form, he first states the theme. Yet it is no simple opening declaration. After the theme appears, there is an ominous bassoon ostinato that you won’t find in Mozart. Tension mounts and comes to a head with a startling chord on the strings. Led by viola and violin in a concertante relationship, the theme effectively weds the two instruments into a single voice. The Lamento theme reappears, but with a lower, more somber cast that fades in a diminuendo breve.
For the variations, the theme is divided into three parts: A, B, and coda. |
| | | | | | | Reviews | | "Collectors who like a strong contrast between the violin and viola parts in the Mozart will most appreciate this recording."
"Dicterow and Dreyfus have better accompaniment and recorded sound; the Warsaw Philharmonic offers greater clarity and more emphatic rhythms than any of the older recordings..."
"McKinley uses the whole orchestra to brilliant effect here…It’s an impressive work that easily stands up to repeated listening..."
-Fanfare May/June 2003
"This is about as fine a performance of Mozart’s Sinfonia Concertante as you are likely to hear…"
-American Record Guide |
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