MOZART Piano Concertos Nos 11 - 13 & 20
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart
Genre:
Orchestral
Label: Challenge Classics
Magazine Review Date: 10/2017
Media Format: Super Audio CD
Media Runtime: 75
Mastering:
DDD
Catalogue Number: CC72752
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 11 |
Wolfgang Amadeus Mozart, Composer
(La) Petite Bande Marie Kuijken, Fortepiano Sigiswald Kuijken, Conductor Wolfgang Amadeus Mozart, Composer |
Concerto for Piano and Orchestra No 12 |
Wolfgang Amadeus Mozart, Composer
(La) Petite Bande Sigiswald Kuijken, Conductor Veronica Kuijken, Fortepiano Wolfgang Amadeus Mozart, Composer |
Concerto for Piano and Orchestra No. 13 |
Wolfgang Amadeus Mozart, Composer
(La) Petite Bande Sigiswald Kuijken, Conductor Veronica Kuijken, Fortepiano Wolfgang Amadeus Mozart, Composer |
Composer or Director: Wolfgang Amadeus Mozart
Genre:
Orchestral
Label: Supraphon
Magazine Review Date: 10/2016
Media Format: CD or Download
Media Runtime: 57
Mastering:
DDD
Catalogue Number: SU4234-2
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No 12 |
Wolfgang Amadeus Mozart, Composer
Dolezal Quartet Jan Bartoš, Piano Wolfgang Amadeus Mozart, Composer |
Concerto for Piano and Orchestra No. 20 |
Wolfgang Amadeus Mozart, Composer
Czech Philharmonic Orchestra Jan Bartoš, Piano Jirí Belohlávek, Conductor Wolfgang Amadeus Mozart, Composer |
Author: David Threasher
These days we can, literally at the push of a button, hear these works in their full woodwind-bedecked glory, so it’s something of a puzzle as to why people persist in recording them in these compromised versions. Still, that is what we have here. The Kuijkens’ disc is very much a family affair, with the solo parts taken by sisters Veronica and Marie, father Sigiswald directing from the violin and Sara, another sister, beside him on second violin.
The use of a double bass rather than a cello adds beef to the sound, providing a luxurious cushion for the fortepiano which, while unidentified in the booklet, has a pleasing tone, with a ringing top and a bass that is fully capable of growling when needs be. These are fine performances, too: perhaps Veronica is by a shade the more mellifluous, imaginative player in the C major and A major Concertos than her sister in the F major.
Jan Bartoš, on the other hand, plays on a modern piano and is joined by a steel-strung quartet with the standard line-up for K414. The acoustic here is more spacious, allowing for greater ease of balance between the instruments, although you are aware throughout that Bartoš is careful never to eclipse his partners. In the hymnlike slow movement he spins a beguiling, sustained melody that contrasts wonderfully with his sprightly playing elsewhere.
Nevertheless, these works are best heard as intended. Kristian Bezuidenhout scored an Editor’s Choice last year with his disc of the three concertos, and that would certainly be a viable period-instrument first choice; Mozartians will be sure to have their favourites among the many cycles on modern instruments.
It seems almost impertinent to refer at last to Bartoš’s D minor Concerto with the full forces of the Czech PO under the late Jiří Bělohlávek, recorded in May 2013. This displays all the characterful acumen the pianist brings to K414, with some beautiful woodwind-playing – at last! – from the Czech players.
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