Mozart’s violin concertos are not heard as often as they should be. The five he wrote exude extraordinary freshness and originality and, in the case of the fifth, were also touched by the aroma of popular music (typical not only of the Austro-Hungarian Empire’s borders but also of the Turkish borders), an aftertaste that was very common in Mozart’s works as well as very influential in the development of the Classical style. Carry on reading
Far less often do we get the chance to hear French composer Louise Farrenc’s Third Symphony. In addition to overcoming the huge difficulties facing female composers in the 19th century, Farrenc had to find a place for herself among the colossal figures of symphonic music of her time (particularly Mendelssohn and Schumann, two composers who also had the discoveries of Mozart and, above all, of Beethoven and Weber, as their models). The Third Symphony, written in G minor, is characterised by rich harmonic sounds, colourful textures and superior lyricism.