In Leopold Mozart’s old house (now a museum) in the Bavarian city of Augsburg a piano tuner is hard at work tuning one of the working exhibits - a venerable clavichord. Enter Reinhard Goebel and Mirijam Contzen whose new Oehms Classics recording of the six Mozart violin concertos with the Bayerische Kammerphilharmonie is sure to stimulate lively debate and maybe even raise eyebrow or two in the coming months.
For one thing there are six not five concertos and that is something that Goebel, after exhaustive detective work, is now confident should be the accepted norm. In this podcast he outlines precisely why he now believes that the Concerto KV 271a is genuine Mozart despite the New Mozart Edition’s continued insistence upon annexing it. It’s a fascinating and convincing case he makes and Mirijam Contzen is on hand to offer the player’s perspective.
Goebel is a colourful and forceful personality and that has been reflected over the years in his ground-breaking and super-dynamic recordings of repertoire from the 17th and 18th centuries. He is passionate about giving music historical context and his programmes (and recent recordings) with the Bayerische Kammerphilharmonie - a dynamic young ensemble he can now call his own - are constantly looking to champion the composers who laid the foundations for composers like Mozart. And that all-important word “style” - we can all learn a thing or two from him in that regard.
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