I have heard it lamented "O, if only Mozart had written 25 violin concertos in the 1780's and only 5 piano concertos." Notwithstanding the alternate universe where Mozart lived to 89 and wrote many of each, the D major concerto for piano and violin, as Philip Wilby reconstructed it in 1985, goes some way to consoling the lamenting violinist. Mozart began composing the fragment (which W. J. Turner in his 20th century biography, disappointed not to have more of it, called a "remarkably fine work") sometime during his month-long stay in Mannheim in 1778 on the way back to Salzburg from Paris. Whereas Mozart wrote the 5 violin concertos for himself to play, this concerto he intended for another violinist, Ignatz Franzl, probably intending to perform the piano part himself; he wrote to his father just before leaving Paris that he wanted to give up playing the violin. This was at a weighty juncture, or at least a phase change, in Mozart's life often implicitly or explicitly considered the fulcrum between "early Mozart" and "late Mozart." Indeed the double concerto shows some of the Mozartish profundity and ecstasy of the later piano concertos while still having much of the humor, play and levity of the young Mozart.
The first Thai winner of the Palme d'Or after its world premiere at the Cannes Film Festival last year, and so far seen mostly in Europe, Uncle Boonmee is about to get a limited release in New York City, while the Region 2 DVD is released in March. Here in the UK it was first shown at the London Film Festival in October 2010 before going on general release (i.e. in London and perhaps a few other big cities) a month later. I belatedly caught up with it on the day it was excluded from the Oscar nominations for Best Foreign Language Film, a decision that I can now say seems quite understandable – for reasons not of quality, but of cinematic style.