Search - Mozart, Harnoncourt, Rco :: Piano Concerti 26 & 23

Gulda is amazing with 26 concert

Hiram Gomez Pardo | Valencia, Venezuela | 05/17/2004

(5 out of 5 stars)

"Friedrich gulda belonged to that lucky dinasty of this brilliant and talented austriac quartet pianists born between 1927 and 1935;together with Alfred Brendel Georg Demus and Paul Badura Skoda make the .
Gulda was the outlawest of this quartet. He played jazz with Chick Corea and he made a career with high and low achievements.
But never in my life I could suspect that cold evening in December 1989, when a friend of mine and hard fan of Harnoncourt made me listen the Coronation concert. It was a haunting experience.
I always loved this concert; Mozart, obviously in the peak of his musical powers and composed an epic work. If you think very carefully, maybe we are in front of the most dionisiac concert of all the twenty seven composed by Salszburgo's genius. The long opening sequence is a tribute to the "savoir faire" wisdom term created by the french people. In many aspects you find the "Emperor" concert of Beethoven many related issues such as the pomp and circunstance, the huge life enjoy , the lyric histamina, a diamondless rapture of enthusiastic efervescence and aristhocratic elegance all along both concerts.
To win in this performing you must supported by a first rate orchestra and playing the concert with absolut accuracy; to avoid the fortes and let the flow melodic breathes. The arpeggios must sound authentic; I mean the notes should born without any pressure; and above all not consider this piece as neo romantic piece. You fail under this reading; not even classical approach , because you'll sound Haydnesque. It demands not only a supreme pianism , but a great meaning sense of every phrase; Mozart makes sing the piano and this concert as the finale of the xx concert has to sound operatic. The jubilee , the humor and lyricism must born in your soul , then your brain and finally you fingers must express much more than musically ; I mean artistically human.
Gulda and Harnoncourt made possible all these requirements and demands and even surpased. The tonality of piano is superb; the balance orchestral never diminishes the piano. The result was for me the happiest goal of both artists. Harnoncourt sounded ok with Kremer in violin concerts and Gulda made worthy performings but neither of them reached this height each one by his own.
It happens and not very often; consider Leinsdorff Richter Brahms 2 ; Stern Bernstein Bartok ; Kempff, Van Kempen Beethoven, to name just a few .
It's that special invisible chemistry not anticipated generated and less conceived rationally; this weird sincronization was a triumph personal and artistic in this case.
Do you neeed any other advise to acquire this monumental version?"