[SACD-R][OF] W.A. Mozart - Piano Concertos 24 & 25 - Ronald Brautigam - 2010/2011 (Classical)

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W.A. Mozart - Piano Concertos 24 & 25
Kölner Akademie Willens / Ronald Brautigam

Жанр: Classical
Год записи материала: 2010
Год выпуска диска: 2011
Производитель диска: EU - BIS Records - BIS-SACD-1894
Аудио кодек: DST 2.0, 5.0
Тип рипа: image (ISO)
Битрейт аудио: 2,8224 MHz
Продолжительность: 55:29
Piano Concerto No. 24 in c, K 491
1. Allegro
2. Larghetto
3. Alegretto
Piano Concerto No.12 in A major, K 414
4. Allegro maestoso
5. Larghetto
6. Alegretto
Composed in 1786, the Piano Concertos Nos 24 in C minor & 25 in C major are regarded as 2 of Mozart’s finest achievements in the genre. Both are large-scale works, with durations of more than 25 minutes each – the C major concerto is in fact one of the most expansive of all classical piano concertos, rivalling Beethoven’s 5th concerto. Their grandeur immediately made them popular fare in the concert hall – Mendelssohn, for instance, had No.24 in his repertoire through the 1820s & 1830s – & new recordings appear regularly. It is nevertheless relatively rare to hear them performed on original instruments & with orchestral forces corresponding to what Mozart himself would have been familiar with. On his copy of a fortepiano from 1795 & with the congenial support of Die Kölner Akademie under Michael Alexander Willens, Ronald Brautigam therefore offers us a welcome opportunity to experience these masterpieces as they may have sounded when Mozart himself performed them. The 1st release in the team’s traversal of Mozart’s concertos, which included the ‘Jeunehomme’ Concerto No.9, was released in 2010 & caused the reviewer in International Record Review to describe the soloist as ‘an absolutely instinctive Mozartian, with… melodic playing of consummate beauty’, going on to congratulate him on finding the ‘ideal partners’ for the project.’
Since the C-minor concerto was possibly intended as a series of three concertos using clarinets, and since the character of these two siblings seems so different (clarinets versus oboes for instance, dramatically changing the tonal spectrum), it might be incongruous to include them on one disc. But it actually sheds light on Mozart’s creative processes. The K 491, easily the most vocal and operatic of all Mozart’s concertos, is a brooding and darkly warm account of some oddly disjointed but elegantly lyrical music, one of the most dramatic pieces in all of the composer’s output. Matching it with the K 503, Beethovenian to the core and almost rigorously utilitarian and utopian in nature, sacrificing the idea of soloist to the corporate whole, makes for a tremendously stimulating almost-hour of music.
I hope that this signals a whole new series. Not since John Eliot Gardiner’s outing with Malcolm Bilson on their complete Arkiv set years ago have I heard such a spirited period instrument account of these pieces. Indeed, Bilson was miles beyond the period status of his time, turning in readings of real passion and authority that almost sublimated the period instruments into a secondary concern for maybe the first time in the movement’s history. With Die Kölner Akademie there is even less concern for symbolic gestures of who, what, when, and why, and an almost innate concern for musicality only shorn of all other considerations. Ronald Brautigam gives us readings that also transcend the medium, making expressive gestures that mark his account with the very best, ancient instruments or not, and his piano (a McNulty 1992 copy after Anton Walter of 1795) for once demonstrates that properly played and sounding instruments of Mozart’s time maybe didn’t sound as terrible as so many other recordings seem to suggest.
Bis has given all performers excellent surround sound that is wide, deep, and comforting to the ear. A most definite recommendation.
Steven Ritter
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