Mozart Piano Concertos

[Marc]

[....]
But the most astonishing was a transfer of an LP with Hans Henkemans and John Pritchard and the Vienna Symphony, also on symphonyshare (though you may have to contact the original poster for a new link.) This has made me really get clearer about how I like my Mozart.

Does anyone know anything about Hans Henkemans?
[....]

Hans Henkemans (1913-1995):
At the time he was quite famous in the Netherlands, especially during the 50s and 60s.
He played a.o. all the Mozart concertos for the Dutch radio. Henkemans was also a celebrated pianist in Debussy and Ravel. He was teaching at the conservatoria of Amsterdam and Groningen (piano and composition).
Henkemans retired as a concert pianist around the early 70s. After that he remained active as a composer and psychiatrist. He wrote books and articles about the psychological process of creation.

[mjwal]

For the Jeunehomme on fortepiano, Andreas Staier is stellar IMO: 

Q

Stap me vitals! my memory... In fact I bought this years ago, brought it to Berlin to listen to again last winter and was delighted. I'd put it up with the best, in fact. I wonder how many more recordings I own which have temporarily (I hope) disappeared into the dark backward and abysm.
I enjoyed the Gieseking a lot the last time I listened, Mandryka, I had a grotty LP for years and the recent Andromeda transfer made me appreciate its virtues. - Busoni's take on Mozart is always instructive & entertaining, and that Petri performance certainly spans the spectrum between elegance and passionate gloom..

[Mandryka]

I just played Staier for the first time and I think I agree with you both. It's outstanding. I'd bought the CD years ago, but I'd only ever played the 17th from it. Thanks for mentioning it Que.

[Mandryka]

Staier finds so much nuance, depth, feeling, spirituality etc in the first movement of the Jeunehomme it's astonishing. A really valuable recording.

It reminded me of an old rmcr discussion about Schnabel in the largo of Beethoven Op 10/3. Someone said that he made it sound like a late work, the work of a visionary thinker , not a young man's work at all. And for that reason she preferred Gould and Gulda to Schnabel.

It raises all sorts of questions about style, that.

[prémont]

It reminded me of an old rmcr discussion about Schnabel in the largo of Beethoven Op 10/3. Someone said that he made it sound like a late work, the work of a visionary thinker , not a young man's work at all. And for that reason she preferred Gould and Gulda to Schnabel.

It raises all sorts of questions about style, that.

From an early age Beethoven was a visionary thinker, and this is why I prefer Schnabel to Gulda.

[Mandryka]

From an early age Beethoven was a visionary thinker, and this is why I prefer Schnabel to Gulda.

LOL. Have you read Comini's book?

[prémont]

LOL.

What is so funny?

Have you read Comini's book?

No I have not; do you think I should read it?

[Mandryka]

What is so funny?
No I have not; do you think I should read it?

If you're interested in reception history then I think so. It's interesting to me to find out how people's perceptions of Beethoven, the man and his music, have changed, how they have been constructed.  Comini reconstructs the reception history partly through written documents and partly through pictures, and I find that a stimulating approach because I like art.  I'm interested in Beethoven from this point of view -- and in Brahms even more so.

Laughing because I had totally failed to express myself well, and that of course your reply has to be right given the way I posted. Of course he has a vision. But whether it's the sort of tragic philosophical vision that you hear expressed in Schnabel's largo,  at the age of 28 or even younger (I don't know how old LvB was when he wrote it), is another question entirely. Of course the largo is sad. But it may not be tragic and deep: it may be rather just an about feeling blue. Schnabel makes it shake the universe like the final act of Tristan -- I'm not sure that's the right thing to do with the music. It may be more like just young Achliles  feeling sad about the death of his mate Patroculus, or a kid feeling pissed off about something.

This medium is hard like that -- you don't have the opportunity for clarification in rthe moment, and the scope for misunderstanding is, hence, enormous. 

If you have the Gould Op 10/3 I'd be interested to know what you think. Equally the Staier Jeunehomme, which I continue to find fascinating.

[prémont]

 

If you're interested in reception history then I think so. It's interesting to me to find out how people's perceptions of Beethoven, the man and his music, have changed, how they have been constructed.  Comini reconstructs the reception history partly through written documents and partly through pictures, and I find that a stimulating approach because I like art.  I'm interested in Beethoven from this point of view -- and in Brahms even more so.

Actually it does interest me. Particularly the changing interpretation of the music  - more than the changing perception of the composer.  This is why I  -like you-  go on acquiring multiple versions of the music.

Laughing because I had totally failed to express myself well, and that of course your reply has to be right given the way I posted. Of course he has a vision. But whether it's the sort of heavy tragic vision that you hear expressed in Schnabel's largo, at the age of 28 or even younger (I don't know how old LvB was when he wrote it), is another question entirely.

The sonata is composed between 1796 and 1798, so he may have been 26 years old. I have always (and a long time before I heard Schnabel´s recording) associated the largo with the expression of deep tragedy, but I acknowledge that other interpretations may be possible.

This medium is hard like that -- you don't have the opportunity for clarification in the moment, and the scope for misunderstanding is, hence, enormous.

That is true. Fortunately I think I have been misinterpreted only rarely.

If you have the Gould Op 10/3 I'd be interested to know what you think. Equally the Staier Jeunehomme, which I continue to find fascinating.

I acquired Gould´s incomplete LvB sonata set (exclusive the CD with no. 24 and 29) fifteen years ago. My reaction to his playing was irritation and frustration, so I parted with the set a few years later. I do not recall many details, - I think my frustration prevented me from taking his interpretations seriously.

I do not know Staier´s Jeunehomme, nor do I acquire much Mozart at all, knowing that the number of occasions I feel like listening to him are few.  Do not get me wrong, I consider Mozart a great composer,-  it is just that my mind does not resonate that much to his music.   

[Leo K.]

I'll check out the Uchida record.

Right  now the one that's giving me most pleasure is Serkin/Abbado.  I know this is a daft and soppy thing to say, but you can hear that they really love the music.  There are a couple of records on spotify which have caught my attention though. A very fast performance from Lili Kraus/Monteux. Also Badura Skoda for the orchestra. The concerto sounds good with a smaller orchestra I think.

Oh, another one I've been playing a few times is Richter/Barshai.

I've decided to explore recordings of no.18, and have immensely enjoyed the recordings you have mentioned above (I haven't yet heard the Richter/Barsai).

Especially that of the Serkin/Abbado, which is so good I am genuinely uplifted.

A kind fellow on Symphonyshare passed along the Henkemann recording and that's my next listen.

[Oldnslow]

I have happily been listening to Rudolf Buchbinder's traversal of the complete Mozart Piano concertos  with the Vienna Symphony on Hanssler Profil for the last couple of weeks (available for a ridiculously low price at Berkshire Record Outlet). To me this set offers a near ideal integration and balance of piano with orchestra. Having enjoyed Buchbinder's recent Beethoven sonata cycle on RCA (another ridiculously low priced bargain), this set (recorded live in the late 90's I believe) confirms that this pianist is a master of the Viennese classical tradition. Highly recommended.   

[DavidRoss]

I have happily been listening to Rudolf Buchbinder's traversal of the complete Mozart Piano concertos  with the Vienna Symphony on Hanssler Profil for the last couple of weeks (available for a ridiculously low price at Berkshire Record Outlet). To me this set offers a near ideal integration and balance of piano with orchestra. Having enjoyed Buchbinder's recent Beethoven sonata cycle on RCA (another ridiculously low priced bargain), this set (recorded live in the late 90's I believe) confirms that this pianist is a master of the Viennese classical tradition. Highly recommended.   

Yes, one of my faves (and bought at normal prices a few years ago--but I've been able to enjoy it all this time ). Highly recommended if you just want the music and not a lot of flashy personal "interpretation."

[johndoe21ro]

For me, Mozart's piano concertos are synonymous with Tate/Uchida (Philips Classics). No one can touch Uchida, there. And this interpretation is superior to Uchida only (as pianist and conductor).
Clara Haskil (a romanian, btw) deserves being mentioned only in Mozart's violin concertos and violin sonatas - Sir Colin Davis, LSO, A. Grumiaux, C. Haskil (Philips Classics 2001).

P.S. My favourite Mozart piano concerto is no.20 - this is another magical recording: Mozart - Piano Concertos No.20 & No.24 (A. Brendel, SCO, Sir Ch. Mackerras) (Philips 1999). Try it and see if you like it.

[DavidRoss]

For me, Mozart's piano concertos is synonymous with Tate/Uchida (Philips Classics). No one can touch Uchida, there. And this interpretation is superior to Uchida only (as pianist and conductor).
Clara Haskil (a romanian, btw) deserves being mentioned only in Mozart's violin concertos and violin sonatas - Sir Colin Davis, LSO, A. Grumiaux, C. Haskil (Philips Classics 2001).

P.S. My favourite Mozart piano concerto is no.20 - this is another magical recording: Mozart - Piano Concertos No.20 & No.24 (A. Brendel, SCO, Sir Ch. Mackerras) (Philips 1999). Try it and see if you like it.

I love the D minor, too! One of my favorite bits of music in the world. And I love Uchida's Mozart--but for me Tate spoils her outings with him. I'll be interested to hear her new recordings with Cleveland.

[xochitl]

I'll be interested to hear her new recordings with Cleveland.

i havent heard her previous ones, but i'm enjoying these immensely [pc 23 &24].

[kscotthandley]

Pardon if this question is misplaced; perhaps I should ask it in a more (audio-)technical thread?  I am new!

I am curious if anyone knows if there are differences in the mastering/sound between the two relatively recent reissue boxes of Alfred Brendel's Mozart piano concertos with Marriner/ASMF.  There is the 10cd Decca/Eloquence box from ~2010, apparently with AMSI ("Ambient Surround Imaging").  Then there's the 2011 Decca 12cd box, including an extra couple discs of (I think) all Haebler/Cooper two-piano concerto works.  I cannot tell if this latter Decca 12cd shares the Eloquence mastering for the Brendel performances, or if it lacks the AMSI but still has newer masters than the first Philips [?] cd edition, and/or (bottom line) if the slightly newer Decca edition basically sounds as good as the Eloquence box.  I've read some argument back and forth from rec.music.classical (from ~2010?) about AMSI generally, and a very brief an uncomplimentary discussion of the process at GMG here, with an explanatory note apparently from Emil Berliner Studios:
http://www.good-music-guide.com/community/index.php/topic,13443.msg330772.html#msg330772

Sorry again that the question is so boringly technical; just curious if anyone has compared the two sets or has some grapevine wisdom to share.

[DavidA]

As far as I know one of them just contains numbers 5 to 27 played by Brendel. The other contains the complete Concertos with numbers 1 to 4 played by other pianists - I thnk haebler and Koopman. Unless you're a completist just get the ones played by Brendel as Mozarts very first concertos tended to be worked reworkings of other pieces. The Brendel only box is at a very reasonable price and Brendel is a great Mozart player. You won't go wrong with them.

[Mandryka]

Revealing, inspired playing from Boulez and Loriod here. A very great recording - and normally I have no interest in early Mozart. Obviously they must have felt as though they had something to say with the music to made such a bizarre record. It shows.

[kishnevi]

Revealing, inspired playing from Boulez and Loriod here. A very great recording - and normally I have no interest in early Mozart. Obviously they must have felt as though they had something to say with the music to made such a bizarre record. It shows.

What do you mean by bizarre?  Are you  simply referring to the fact that Boulez and Loriod aren't usually associated with WAM (much less prepubescent WAM), or something else?

[Ken B]

What do you mean by bizarre?  Are you  simply referring to the fact that Boulez and Loriod aren't usually associated with WAM (much less prepubescent WAM), or something else?

I was a little startled by that cover. Boulez Mozart? Was it mockery?