I draw huge inspiration from the fact that the sound I produce on the violin is probably very similar to something that Mozart heard in his own ear. “They take this sound, which only a few people would otherwise get to hear, beyond the concert hall. The resulting recordings, he said, were vital for sharing something very close to what Mozart would have heard. The time it took to get it into shape each day became shorter the more often I played it.” I played it for hours and days at a time and each time I played it its sound opened up and the wood was in harmony again. “As it was very rarely played, at first its wood was stiff and it lacked resonance and its sound had fallen asleep. Koncz told how he spent years coaxing it back to life. I have been allowed to bring it alive again.” “It’s a museum instrument, but we musicians believe an instrument only has one purpose: to be played. Koncz describes the violin’s sound as ‘very silky, silvery’.
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For Koncz and those behind the project it feels like a fitting moment to bring an instrument that has been mainly confined to a glass display case to a wider audience. Tonight he is due to perform the concertos on the violin with the French period instrument ensemble Les Musiciens du Louvre, in the large hall of the Mozarteum Foundation in Salzburg, to be repeated later this month, when they will all – including the instrument, under the constant watch of two bodyguards – travel by train to perform at the Cologne Philharmonic.Īfter months of silence due to the pandemic, Europe’s concert halls are cautiously reopening, albeit to much smaller audiences and under strict hygiene rules.
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He said he was experiencing some of the most intense days of his career.
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The 33-year-old Austrian-Hungarian musician, who began playing at the age of four, is also a respected soloist and conductor in his own right, as well as being principal second violinist of the Vienna Philharmonic.