The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. The Violin Concerto No. 5 is the most refined and accomplished of Mozart’s early works for this instrument. It explores all the resources of the violin and integrates the orchestra much more thoroughly and organically into the concerto structure than in the previous works. A particular original touch is the Adagio entrance of the violin after the traditional Allegro introduction by the orchestra. The slow movement unfolds a variety of modulations in minor which give the movement a tragic touch. The last movement is beloved above all for its minor-mode “Turkish” or “Hungarian” episode, with marked leaps and basses which hit the strings with the wood of the stick – a delightful idea that comes at the close of what is arguably Mozart’s most popular violin concerto. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.