- Sonata for violin & piano No. 32 in B flat major, K. 454
- Adagio for violin & orchestra in E major, K. 261
- Violin Concerto No. 5 in A major ("Turkish") K. 219
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The push is on to make 16-year-old Dutch violinist Noa Wildschut the prodigy of the moment, and a brief encounter with her 1714 Grancino violin is enough to hear why: it's a strikingly sharp, almost piercing sound that grabs your attention. Wildschut's sound might be more suited to Romantic music, but that's coming, and one can understand why she might have wanted to start with Mozart. Yet one may also feel that Mozart is not quite her métier. Sample the beginning of the "Violin Concerto No. 5 in A major, K. 219 (Turkish)." Plenty of players take a little beat at the violin's entrance, but Wildschut's is unusually large and arguably destroys the integrity of the tempo. Her cadenzas, too, partly of her own invention, are a bit overdone. Then again, she is in touch with the melodic appeal of the music, and the album does make you want to hear more from her. She does well to include the "Adagio in E major for violin and orchestra, K. 261," an alternate slow movement for the A major concerto, and in both these slow movements she has an impressively controlled long line. The "Violin Sonata in B flat major, K. 454," works less well: the relationship between violin and piano does not quite seem to sync with the moments when Mozart lets the violin step out in new ways. But again, there is that brilliant violin tone. Recommended, partly for the promise shown.
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