Mozart: Piano Concertos Nos.15, 21 & 23

Alfred Brendel has no rival among living pianists with regard to the classical repertoire of his instrument. From Haydn and Mozart to Beethoven and Schubert, no other interpreter except Brendel is able to convey on the keyboard - with so much graceful poise and effortless exactitude - the inner beauties of their scores. His affectionate approach to Mozart materialized in many outstanding recordings during his long and highly praised presence in front of the public from all over the world.

In the case of Mozart concertos - which remained a constant affinity of Brendel's till his very last public appearance (in Vienna on 18 December 2008)- there were two distinct recorded cycles under two distinguished conductors (Sir Neville Marriner and Sir Charles Mackerras) leading two remarkable British orchestras (Academy Saint Martin in the Fields and Scottish Chamber Orchestra), Moreover, these two cycles were realised at two very different moments in Brendel's impressive career: the first one, at the beginning of his maturity (in early '70s) and the second one towards the sunset of his concert-giving activity (in the early 2000), a few years prior his retirement from the international stage. Aware of the huge responsibility, Brendel finally entrusted to disc - with great international acclaim - twelve of Mozart's keyboard sonatas, only in this latter period.

The CD under consideration here cherishes special moments from the first set of Mozartean recordings in Brendel's artistic life. We are offered by these reissued Philips legendary recordings three of the most beloved Viennese outputs in Mozart's catalogue: the piano concertos K 450, K 467 and K 488. Useless to say that Brendel masters in a most engaging manner the ability to extract the adequate accents from these wonderful works. Take for instance the celebrated concerto in C major K 467. Its outer movements sound so vividly impetuous, whilst the central Andante arises in a fresh unsentimental light without losing a bit of its touching delicacy. The alertness of the concerto in B flat major K 450 is refreshing and Brendel's fingers seem to soar over the keys so graceful is his playing. The tempi are neither exaggerated nor diluted, the dynamical range carefully balanced, the orchestral contributions occurring with classical elegance bind together the proceedings. While these two accounts date from 1981, the concerto in A major K 488 belongs to the year 1971. This is noticeable, as the recorded sound lacks a little bit its space projection, its airiness. Yet Brendel's approach is nothing short of inspired.

Sir Neville and his Academy supply a wondrous orchestral background throughout, in a lively permanent dialogue with the soloist, setting admirably the stage for him and seamlessly incorporating his interventions into the symphonic proceedings.

Five stars!

Near perfection.
Is it possible?
Precise, economical, soulfull . Mozart piano concertos by Alfred Brendel, Academy of St Martin and Sir Neville Marriner, in a 24 Bits re-issue.
3 Stars? You must be Kidding

For my taste concerto 450 is not quite attractive as K467 &488. I like most K449 instead but is a matter of taste. So if you want the big names of 21 & 23 look at Philips duo which includes brendel/marriner readings of 19,20,21,23, 24 and if I am not wrong 2 concert rondos.

Concerning this release all is quite right but uneven. Without question the best is K 450, because orchestral parts are more limited in scope.

Let me say this: Brendel is amazing. His techique would be summarized as follows: quite little pedalling, so there is a sound not too different from period fortepianos, but with greater dinamic range (characteristic of modern piano). He also shows a huge variety of touch with carefull control of dinamics. In short, a delight. He is known as an intellectual, scholar artist and this is reflected here. See that K488 was recorded in 1971 and the rest 10 years later and the pianist style has not change: a tribute to coherence. He also adds some notes, something quite correct in this type of music but I find it too conservative. They say Levin/Hogwood go in this direction (I do not know their releases yet); I hope for readings so embellished as is Vivaldi nowadays played, for instance.

But Marriner ... Perhaps is a fault of sound engineer! In the surface orchestral parts are played quite right, very "alive" but still without the clarity of HIP recordings which were to appear years later. But with repeated listenings I find a great fault: it happens that the balance is not good at all. I love Mozart concertos because, among other things, wind writing (esp woodwind) is quite developped (better than the rest of the composers of piano concertos, perhaps). The woodwind and brass should be played as if the instrumentalists were soloists or chamber players, not just members of a huge block of sound: the modern orchestra. Here woodwinds sound too far behind, with little projection and sometimes not audible (development of 21 1st mov: oboe vs strings). If you dont understand what I am talking about try Barenboim/ECO: there you know what is playing each one of the woodwinds everytime, even in orchestral tuttis. And the bright colours Barenboim achieves of them!. I think it is a fault of Marriner: he does not understand the truly importance of woodwind in Mozart writing.