The three concertos played here are the second half
of a marathon concert in celebration of Mozart’s 250th
anniversary and Rudolf Buchbinder’s 60th birthday.
The first half, presented concertos 23, 22 and 24 in that order
(Euroarts 2055898, review).
This second half begins with Concerto 14. Seeing Buchbinder conduct
the first movement introduction clarifies his sense of energy
of propulsion at the same time as delicacy of articulation and
vertical clarity, the latter significant when the first piano
solo echoes the orchestra. The new material and mood introduced
by the piano (tr. 2 3:33) which leads to the piano version of
the second theme (3:56) Buchbinder displays more ardently. Buchbinder
brings out not just the vivacity but also the courtliness and
density of this movement. The cadenza played is Mozart’s which
Buchbinder begins reflectively before more passionate, dramatized
treatment.
I compared the CD
of the pioneer of piano conductor Mozart recordings, Geza Anda
with the Camerata Academica des Salzberger Mozarteums recorded
in 1966 (Deutsche Grammophon 469 510-2). Here for comparison are
the actual music times:
Timings
|
I
|
II
|
III
|
Total
|
Buchbinder
|
8:45
|
5:55
|
5:33
|
20:13
|
Anda
|
8:25
|
6:27
|
5:46
|
20:38
|
Anda’s introduction
is more firm and rigorous but the second theme is more contrastedly
lyrical. Anda’s solos have a limpid fluidity. Buchbinder’s are
fluent but more sinewy. Anda’s cadenza is more playful, with
more poised variation of tempo.
Buchbinder’s slow
movement has a lilting opening, tender and warmly flowing yet
with an operatic fervour from the strings at the climax of its
opening theme. However, the question arises whether the movement
flows too readily, even for the marking andantino. The
tensions in the piano’s argument become more playful or abstract.
Anda’s flow is a little more relaxed, the orchestral playing
more objective but the piano solos of more poised phrasing than
Buchbinder’s which makes them more personal and aria like. Buchbinder
is structurally very clear but less spacious.
Buchbinder’s finale is incontrovertibly more
playful, with light articulation from the orchestra and Buchbinder
particularly enjoying a skipping presentation of the second
theme (tr. 4 16:56 in continuous timing). Good DVD direction
also allows us to note some passages where the right hand melody
plunges from treble to bass clef and therefore crosses over
the left (from 17:12 and 19:02). The coda (20:35) is realized
in especially scampering fashion and relished by all. Anda’s
orchestra is stiffer in the first theme but the piano energizes
and jollifies things. You are won over by Buchbinder enjoying
himself, bringing impetus and a certain virtuoso swagger. With
Anda you appreciate more the counterpoise with the orchestra.
Next on this DVD
comes Concerto 25 to whose first movement Buchbinder brings
great style. It has majesty without bombast, grandeur and smoothness
by turn in the introduction. The orchestral march theme (tr.
5 24:17) which prefigures the second theme is a fine blend of
power and grace. Buchbinder’s piano solo reflects the orchestral
material in its own magically gentle theme (27:06) before introducing
the second theme (27:43) which takes on a partly strutting,
partly quizzical manner in the development (29:25). Buchbinder’s
cadenza makes the second theme more warmly and richly melodic
as well as revisiting the piano’s own enchanting theme.
I compared the 1988 recording on CD by the
Berliner Philharmoniker/Daniel Barenboim (piano conductor) recorded
in 1988 (Elatus 2564 61358-2). Here are the comparative actual
music timings:
Timings
|
I
|
II
|
III
|
Total
|
Buchbinder
|
13:39
|
6:18
|
7:44
|
27:41
|
Barenboim
|
14:27
|
7:36
|
8:38
|
30:41
|
Barenboim’s first
movement has more bombast yet his piano solos have a mercurial
touch, glittering fluency and also intimacy. Buchbinder is brighter,
with a sense of bubbling, enthusiastic celebration. Barenboim’s
cadenza is the more dramatic.
Buchbinder’s andante
slow movement (tr. 6) is balmy and smooth. The first piano solo
has poise and spaciousness. There’s a pleasing sotto voce
effect at the apex of the melody at 39:06 and the repeated
leaps at 40:11 are tastefully increasingly decorated. Buchbinder
keeps everything simple, sunny and without affectation. Barenboim’s
slow movement is calm but with an underlying restlessness, partly
owing to emphatic accents. The piano solo is exquisitely etched
but not as flowing as Buchbinder’s. Buchbinder’s greater momentum
here gives the movement freshness and vivacity.
Buchbinder’s allegro
finale (tr. 7) begins a touch steadily to point up the later
flourish of the tutti semiquaver triplets and virtuoso
flair from the piano solo. Its second theme (44:53) has a firm
exterior but unmistakably merry interior and ever the close
relationship between soloist and orchestra is appreciable. But
it’s the third theme (46:40) that has the most inner spirit
though Buchbinder’s ornamentation in its second part at 47:01
is arguably over florid. The tense development of its first
four notes by flute, oboe and bassoon from 47:27 seems a little
glossed over, given that it’s a suddenly dramatic phase, a recognition
of key elements of life, amidst the candyfloss. Barenboim finds
more contrast in the piano solos between ebullience and delicacy,
yet again preferring clarity to Buchbinder’s vivacity. His third
theme has more inward poise and its development in the woodwind
is more appreciable. Buchbinder’s ever eager, shimmering projection
sometimes seems to be chasing its own tail.
Finally on this
DVD comes Buchbinder’s Concerto 20. A mysterious, soft, edgy
opening (tr. 8) is followed by the customary loud tutti
which has sharply etched phrasing and rhythmic grit. The second
theme (53:42) is smoother but rebuffed by the grim following
tutti. The sighing third theme (54:53) is more attuned
to the overall mood as is the piano solo entry but I feel Buchbinder
lacks a little poise here, being swept along by events and indeed
febrile when soon engaged in the return of the opening theme.
The second theme, by the time it reaches the piano (56:07),
has become careworn while in the fifth theme (56:29) Buchbinder
displays a thoughtful first phrase answered by a brusque second
one. Often the piano playing is passionate while the orchestra
is more civilized. There are subtler elements too, like the
sullen colouring of the return of the fifth theme (61:24) in
D minor rather than F major. And Beethoven’s cadenza, as usually
played, but here with a sense of sudden expanded freedom and
wildness in its dramatic, humane distillation of the melodic
essentials.
I compared the recording
on DVD by Ivan Klansky with the Virtuosi di Praga/Jiri Belohlavek
(Brilliant 92819). The comparative actual music timings are:
Timings
|
I
|
II
|
III
|
Total
|
Buchbinder
|
13:08
|
8:59
|
6:37
|
28:44
|
Klansky & Belohlavek
|
13:57
|
8:46
|
7:14
|
29:57
|
Klansky and Belohlavek
emphasise the lyricism of the first movement. Klansky’s solo
entry is more poised and spacious than Buchbinder’s while his
fifth theme has a charming first phrase answered by simply a
cleanly articulated second one. Klansky’s own cadenza, slightly
longer than Buchbinder’s Beethoven, 2:16 against 1:48, is fascinatingly
lyrical, jocular, then mercurial. But Buchbinder’s account of
the movement as a whole is more cohesive, with more drive to
its density.
Buchbinder’s slow
movement (tr. 9) is smooth, flowing and a mite pensive. Klansky
finds a more joyous dancing lilt and wonderfully deft, tiered
softening of the sequential phrases at his second entry, sensitively
matched by Belohlavek’s repeat. Buchbinder slows down slightly
in these phrases. Klansky’s first episode is of tuneful musing.
Buchbinder here (68:08) articulates fastidiously, transported
by the music. His second episode (70:20) has more weight and
concentration than Klansky’s.
Buchbinder begins
the finale (tr. 10) impetuously and gets a stormy response from
the orchestra. But the first episode (76:29) begins the smoothing
out process, softening the refrain which follows it, paving
the way for the happy third theme (77:34). Its triumph in the
D major coda (81:06) is a satisfying because not altogether
unexpected outcome. Klansky starts to anticipate the celebration
even from a first episode with a touch of impishness and his
third theme is jollier from the start.
Buchbinder’s are
performances of admirable composure and his evident joy in the
music making is very appealing. But, as noted above, at certain
times I still feel Buchbinder’s performance would be enhanced
by a greater sense of space.
Michael Greenhalgh