Mozart Piano Concertos

[Drasko]

Is anyone familiar with Paul Badura-Skoda recording of about half a dozen concertos with Prague Chamber Orchestra on Transart? Saw them in a local shop and wondering if it's worth picking up. Think it's available both as three separate discs and boxed.

[Elgarian]

among my guilty pleasures are Ashkenazy's lush, romantic recordings.

'Lush' and 'romantic' are the kind of words I might use to describe the Brendel/Marriner interpretations, along with 'silky', 'liquid' and 'smooth' - but this is such new territory for me that I'm aware that even the words 'lush' and 'romantic' probably encompass a whole spread of different nuances that I haven't experienced yet.

[Scarpia]

'Lush' and 'romantic' are the kind of words I might use to describe the Brendel/Marriner interpretations, along with 'silky', 'liquid' and 'smooth' - but this is such new territory for me that I'm aware that even the words 'lush' and 'romantic' probably encompass a whole spread of different nuances that I haven't experienced yet.

Marriner (not Brendel) I would describe as flaccid, not lush.  Barenboim/Berlin has a fair bit of rubato and other liberties that are perhaps anachronistic, but can be satisfying.  You would not believe the liberties Schnabel's recordings take with tempo.

[Clever Hans]

What keeps me from getting the Sofronitzki set is the following review:
http://www.musica-dei-donum.org/cd_reviews/Mozart_KeyboardConcertos_Sofronitzki_Huss.html
Comments?

[DarkAngel]

Wish there was some way to collect these Levin/Lyre concertos using a replica Anton walter fortepiano without breaking the bank, Hogwood/AAM provide great orchestral support and Levin uses his own cadenzas, this will keep you spellbound.......if this were complete set it would rise to the top of available fortepiano sets, inspired work

[DarkAngel]

What keeps me from getting the Sofronitzki set is the following review:
http://www.musica-dei-donum.org/cd_reviews/Mozart_KeyboardConcertos_Sofronitzki_Huss.html
Comments?

Don't agree with his impressions, if this is a dull set we are listening to two different sets............I have Bilson and Immerseel sets and the Sofronitzki is much better overall for me.

In the end you need to sample on your own and come to your own conclusions instead of going by what "experts" tell you is best for you 

[Clever Hans]

Don't agree with his impressions, if this is a dull set we are listening to two different sets............I have Bilson and Immerseel sets and the Sofronitzki is much better overall for me.

In the end you need to sample on your own and come to your own conclusions instead of going by what "experts" tell you is best for you 

Ultimately, yes, but I respect Johan van Veen, especially his reviews of Bach recordings. Although this review doesn't strike me as particularly expert, here he does make pretty specific criticisms about the flexibility of the orchestra and soloist, which warrants investigating.

To make a further point, some people are just plain more knowledgeable and experienced about certain topics, like the improvisation of cadenzas.

[DarkAngel]

Ultimately, yes, but I respect Johan van Veen, especially his reviews of Bach recordings. Although this review doesn't strike me as particularly expert, here he does make pretty specific criticisms about the flexibility of the orchestra and soloist, which warrants investigating.

To make a further point, some people are just plain more knowledgeable and experienced about certain topics, like the improvisation of cadenzas.

He is undoubtedly knowledgeable about what style he prefers, but I suspect Viviana Sofronitzsky is even more knowledgeable about Mozart, if she wished she has the skill to play exactly what Johan van Veen wants to hear, but she is playing things the way she thinks is best by her own choice.......so again each person must listen and make thier own decisions about what they prefer

[Bunny]

'Lush' and 'romantic' are the kind of words I might use to describe the Brendel/Marriner interpretations, along with 'silky', 'liquid' and 'smooth' - but this is such new territory for me that I'm aware that even the words 'lush' and 'romantic' probably encompass a whole spread of different nuances that I haven't experienced yet.

I think anything in the classical repertoire by Paul Badura-Skoda is worth picking up.

[Clever Hans]

He is undoubtedly knowledgeable about what style he prefers, but I suspect Viviana Sofronitzsky is even more knowledgeable and is playing things the way she thinks is best.......so again each person must listen and make thier own decisions about what they prefer for thier own listening

Ha, yes, you are probably right. She has quite an education. Nevertheless, I'm still looking for a review of this recording by someone who has a similar education.

[Franco]

He is undoubtedly knowledgeable about what style he prefers, but I suspect Viviana Sofronitzsky is even more knowledgeable about Mozart, if she wished she has the skill to play exactly what Johan van Veen wants to hear, but she is playing things the way she thinks is best by her own choice.......so again each person must listen and make thier own decisions about what they prefer

Since you mentioned it in an earlier post, I thought it worth remarking that one of his specific criticisms was concerning the use of an replica Anton Walter fortepiano which he thought not historically accurate for Mozart.

[Bulldog]

Since you mentioned it in an earlier post, I thought it worth remarking that one of his specific criticisms was concerning the use of an replica Anton Walter fortepiano which he thought not historically accurate for Mozart.

In addition to having his own review site, Johan does reviews for MusicWeb International.  He's quite the stickler for historically accurate performances, although his musical preferences are just as subjective as the next person's.
Johan obviously feels that the performances are lacking depth and nuance; I'd pay some attention to his comments, but he's still just one reviewer among many.

[DarkAngel]

Since you mentioned it in an earlier post, I thought it worth remarking that one of his specific criticisms was concerning the use of an replica Anton Walter fortepiano which he thought not historically accurate for Mozart.

Nothing I would be concerned about..........
most fortepiano recordings use later Anton Walter because it sounds so fine. I have a Lubimov boxset of Mozart sonatas and he uses 3 different fortepianos progressing in time ending with the Walter, sounds so much better when he switches to the Anton Walter replica, who really cares what is historically accurate?

Myth of expert reviewers.......
they lead you to believe that there is a correct or ideal way to play works (which happens to be thier way) when in reality a complex and imaginative set like Mozart piano concertos can be expressed in many equally valid different styles, the listener only need find what pleases them most

[Franco]

who really cares what is historically accurate?

[Tyson]

I recently picked up Uchida's recording with the Cleveland Orchestra.  I was hoping she'd show some growth as an artist, ala Brendel's recent recordings with Mackerras.

The orchestral portion is FAR better than when she did her cycle with Tate.  But, alas, her playing is just as demure and overly-pretty now as it was back then.  Too bad, and I won't be picking up any more releases if they happen to come out.

On the other hand, the recent recording by Bliss with the Orpheus Chamber orchestra is a beautiful small scale reading with a great piano part and excellent winds and interplay.

[DarkAngel]

On the other hand, the recent recording by Bliss with the Orpheus Chamber orchestra is a beautiful small scale reading with a great piano part and excellent winds and interplay.

Looks like only 1CD currently out.......
Reminds me to pull out the old Goode/Orpheus CO CDs and give them another listen, has been a while

 

[Elgarian]

What keeps me from getting the Sofronitzki set is the following review:
http://www.musica-dei-donum.org/cd_reviews/Mozart_KeyboardConcertos_Sofronitzki_Huss.html
Comments?

Please bear in mind that all my comments are those of the tyro, and that my knowledge about how these concertos should be played is zero. But when this reviewer describes these performances as dull and one-dimensional, I wonder, like DA, whether we can possibly be talking about the same music. (Actually, those are words I might use to describe the Brendel/Marriner recordings I've been using in my comparisons). I said it in my post but I'll emphasise it again here: for me, Sofronitzki's performances of these concertos have swept aside decades of indifference to Mozart's piano concertos, and left me gasping with enthusiasm and wanting more, more, more. I find them full of thrilling little vivaciousnesses, the equivalents of little winks and nods of understanding, and a wide range of feeling, from the forceful to the delicate. I'm not saying that at some time in the future I won't find performances that are better; but right here and now these have been, and are, of enormous value to me. I don't think this means that the reviewer is necessarily wrong (surely there aren't any absolutes in all this, and an opinion is after all only an opinion); but his approach to the music is so different to mine that his comments aren't helpful to me - even though they might be to others.

My reluctance to take this reviewer's comments too seriously is compounded by this absurd advice: 'The acoustics are too dry and the recording volume too high. If you purchase this set you are well advised to turn down the volume of your playing equipment.' (Well my goodness, that's pretty damning, don't you think? Heaven forbid that I should have to adjust my amplifier's volume control.)

If a reviewer doesn't seem to know what the volume control on his amp is for, then I'm not inclined to be much influenced by his other opinions.

[Bulldog]

Please bear in mind that all my comments are those of the tyro, and that my knowledge about how these concertos should be played is zero. But when this reviewer describes these performances as dull and one-dimensional, I wonder, like DA, whether we can possibly be talking about the same music. (Actually, those are words I might use to describe the Brendel/Marriner recordings I've been using in my comparisons). I said it in my post but I'll emphasise it again here: for me, Sofronitzki's performances of these concertos have swept aside decades of indifference to Mozart's piano concertos, and left me gasping with enthusiasm and wanting more, more, more. I find them full of thrilling little vivaciousnesses, the equivalents of little winks and nods of understanding, and a wide range of feeling, from the forceful to the delicate. I'm not saying that at some time in the future I won't find performances that are better; but right here and now these have been, and are, of enormous value to me.

My reluctance to take this reviewer's comments too seriously is compounded by this absurd advice: 'The acoustics are too dry and the recording volume too high. If you purchase this set you are well advised to turn down the volume of your playing equipment.' (Well my goodness, that's pretty damning, don't you think? Heaven forbid that I should have to adjust my amplifier's volume control.)

If a reviewer doesn't seem to know what the volume control on his amp is for, then I'm not inclined to be much influenced by his other opinions.

I don't see anything wrong with a reviewer advising readers that the recorded volume is higher than on most other recordings.

Johan offered his honest assessment of the Sofronitzki set.  That the assessment contrasts with the opinions of some on this board and perhaps with the majority of other reviewers does not indicate that Johan doesn't know what he's talking about.  His is simply a "minority" view that I'm sure a few other souls on Planet Earth would agree with.  FWIW, I've not heard a note of the set nor do I generally agree with Johan's opinions.

[DavidW]

I just wanted to say that Johan van Veen is a serious critic that knows HIP better than most, his reviews should be taken seriously.  BUT his specialty is the baroque era.  Just something to think about it.

Personally I liked that he mentioned the problem with volume.  If the volume is a little bit higher, listeners do tend to think it sounds better.  It's pretty well known.  It would be funny if people were enthusiastic more from being duped by a cheap trick that has been widely embraced by pop music decades ago.

I'm not going to look into it, Elgarian's review turns me off more than Johan van Veen's review does.  If Elgarian hates Mozart until he hears this recording out of many, I don't jump to the conclusion that it's revelatory.  I think it more likely that it's just quirky, unorthodox and just strange so that it doesn't sound like Mozart, and that's why he likes it.  If someone who really loves Mozart says to check it out... then maybe.  But I've already heard fine HIP recordings and I don't need an overpriced no name performer to add to the collection just for the sake of quirkiness.

[Elgarian]

I don't see anything wrong with a reviewer advising readers that the recorded volume is higher than on most other recordings.

Not wrong - just... unnecessary. Perhaps I underestimate the dangers of volume control adjustment.

Johan offered his honest assessment of the Sofronitzki set.  That the assessment contrasts with the opinions of some on this board and perhaps with the majority of other reviewers does not indicate that Johan doesn't know what he's talking about.

I agree completely. I added a bit to my original post while you were replying to it, because I felt I was being unnecessarily forceful about it. It's not a matter of wrongs and rights - just a matter of horses for courses.