Search - Wolfgang Amadeus Mozart, Neville Marriner, Academy of St. Martin-in-the-Fields :: Mozart: The Great Piano Concertos, Vol. 1

Fabulous

S. Tirado | Cambridge, MA | 09/13/2007

(5 out of 5 stars)

"Consistently clean and brilliant performances that never fail to capture the spirit of the compositions."

CORNERSTONES OF THE REPERTOIRE

K. J. MCGILP | Wanaque, NJ USA | 05/06/2010

(5 out of 5 stars)

"My first CD purchase of Mozart piano concertos featured the brilliant Annie Fischer. The set consisted of concerto's 20, 21, 22, and 23. It was on EMI's Seraphim label at a cost of only four dollars. Wolfgang Sawallish and Sir Adrian Boult led the Phiharmonia Orchestra in big and bold fashion while Fischer's dynamic playing made for very memorable interpretations of these oft performed gems. It has been about fifteen years since acquiring that set. I have heard several pianists performing these works during those years, both live and on CD.

I like Alfred Brendel's approach to the Mozart concerto's very much. He is not affraid to apply firmness or strike the keys a little harder than many pianists do. This music can take it! Some players, I feel, are too precious with these masterpieces. Brendel's analytical style, coupled with his lyrical virtuosity are cogently accompanied by Sir Neville Marriner and the Academy of St. Martin in the Fields. Marriner is an elegant Mozartian. He provides grace and lucidity of line with plenty of acceleration wene need be applied. There are times when the music could use more dramatic engagement. Sometimes it seems a little too polished. If you like this approach, you most likely will revel in it's many fine qualities.

Number 19 is very good. I've heard several recordings of this and it sometimes strikes me as a bit less inspired than some of the others. Brendel and Marriner's academy made me realize that while this may not be my favorite Mozart concerto, it certainly is a great one. Brendel's combination of verve and sensitivity had me listening to it with new ears.

Number 20 in D minor has been recorded oodles of times (and re and re-re recorded by some). Brendels rhythmic snap and firm control is refreshing for those who may be a bit tired of the languid stylings of many other players. Marriners orchestra is fastidious in this one. Perhaps too much so. Chamber-like lucidity grounds some of the music. There is not much lengthening of the lines. But it is a very interesting reading. The music can be heard in vivid detail. Technically, it is impressive.

Number 21 in C Major is perhaps the most well known of all the concertos. This is a great reading from beginning to end. It has everything. Graceful majesty in the first movement. Melting beauty in the famous Andante. Excitement and poise in the third movement. Perfect balance between orchestra and soloist. Simply stunning!

Number 23 is another great reading. This has been sighted by many critics to be one of the best recordings of the 23rd concerto available today. I could not disagree with them.

Number 24 in C minor is given a very good performance. This is not quite as dark as the more recent rendering performed by Evgeny Kissin (with Colin Davis and the LSO on EMI). Brendel plays eloquently with the clean and precise ASMF providing solid support. I love Glenn Gould's polymorphic version of 24. He added some left hand parts to muscle it up a bit. A renegade reading of sorts. Call it an oddity.

The rondo in D is given three separate tracks. I have heard several recordings of this delightful piece. Brendel et.al. are superb. Of the dozen or so I have heard, this is my favorite. The rondo in A is as impressively done as the one in D. Is there any room for improvement in this music?

There are many great CD's to consider in this repertoire. And, there are many wonderful performances. I can heartily recommend this set. Thanks for reading my review and good luck finding the recordings that provide you the utmost joy! Thanks again!

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