Mozart & Myslivecek: Flute Concertos
Ana de la Vega (flute)
English Chamber Orchestra
Some misleading claims have been made in her championing of the work…Putting these aside, one may still warm to both de la Vega’s advocacy and her execution, full of fleetness of phrase and...
Mozart & Myslivecek: Flute Concertos
Ana de la Vega (flute)
English Chamber Orchestra
Purchase product
Some misleading claims have been made in her championing of the work…Putting these aside, one may still warm to both de la Vega’s advocacy and her execution, full of fleetness of phrase and...
About
With sensuous melodies and elegant virtuosity, Mozart’s Flute Concertos in G major (K. 313) and D major (K. 314) are the most cherished pieces composed for the instrument. Here they are brought together with the recently rediscovered Flute Concerto in D major by Josef Mysliveček, Mozart’s esteemed Bohemian contemporary. Released together with the Mozart Concertos, this rare, exciting work is finally on the market again.
The soloist is none other than the actual person who rediscovered Mysliveček’s hidden treasure: flautist Ana de la Vega, who, as a successor of the great French school of Flute playing, possesses that captivating full tone coupled with exquisite legerity. On this PENTATONE release, she teams up with the English Chamber Orchestra, one of the most celebrated Mozart orchestras in the world.
Contents and tracklist
- Ana de la Vega (flute)
- English Chamber Orchestra
- Stephanie Gonley
- Recorded: September 2016
- Recording Venue: Henry Wood Hall, London, United Kingdom
- Ana de la Vega (flute)
- English Chamber Orchestra
- Stephanie Gonley
- Recorded: September 2016
- Recording Venue: Henry Wood Hall, London, United Kingdom
- Ana de la Vega (flute)
- English Chamber Orchestra
- Stephanie Gonley
- Recorded: September 2016
- Recording Venue: Henry Wood Hall, London, United Kingdom
Spotlight on this release
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Awards and reviews
August 2018
Some misleading claims have been made in her championing of the work…Putting these aside, one may still warm to both de la Vega’s advocacy and her execution, full of fleetness of phrase and appealing purity of tone; the more so since by the highest standards of the period, including Mysliveček’s own, the Concerto comes across as slightly lacking in originality…In the two Mozart concertos the solo playing possesses the same charm and freshness.