Wolfgang Amadeus MOZART (1756-1791)
Piano Concerto no.17 in G, K.453 [30:06]
Concerto ("no.10") in E flat, for two pianos and orchestra, K.365
[24:28]
Sonata in D, for two pianos, K.448 [21:37]
Alfred Brendel (piano); Walter Klien (piano II)
Vienna State Opera Orchestra/Paul Angerer
rec. No details given. ADD
REGIS RRC1388 [76:31]
Regis do their reputation no good here by misspelling Walter Klien's
surname no less than five times. As an Austrian, he could have been a Klein,
but he was in fact a Klien. Gramophone's critic was unsure of the spelling
when these recordings first appeared in the early 1960s, but Regis have the
benefit of half a century of knowledge of his recordings and concerts. They
even repeat the error on their website. They have also transformed the
double Piano Concerto K.365 into K.535, which is actually a Contredanse in
C.
At any rate, these are old Vox LP recordings that have been recycled
many times, appearing in various reissues and commemorative boxed sets over
the last two or three decades. This particular release has been considered
here (near the bottom of the page): pace that
reviewer's assurances, recorded sound is not very good. (It’s also
reviewed as part of the Brilliant Classics Brendel Edition here) In K.453 the quality is rather tinny and wan, and there is
distortion in both channels - crackling in the left and squealing of
woodwind in the right - as well as added reverberation, although the latter
is probably nothing to do with Regis. There is also a rather obvious editing
join midway through the final movement. The double Concerto is a little
better overall, but still pretty flat and with a slight but ever-present
background hiss. The double Sonata comes closest to acceptable quality, at
least once allowance is made for its age.
Those prepared to listen back through the fug of time will find
typically faithful, clean performances by Brendel and Klien - expressive to
a reasonable degree, with elegant phrasing and attractive teamwork. It is
fair to say that neither pianist achieved their reputation for greatness
playing Mozart. Nor is Mozart at his very best in these concertos, although
the D major Sonata is one of his most brilliant accomplishments in the
genre.
The two sides of English-only notes go into fair if mechanical
detail about the works, but there is no mention of Brendel or Klien, either
biographically or with reference to these particular recordings.
In short, there is little value in this disc for Mozart fans.
Collectors of Brendel or Klien paraphernalia might give it some
consideration, but though the double Sonata K.448 is the one that gave birth
to the so-called "Mozart Effect" a few years ago, truly smart people will
realise that there are better bargains to be had in the many boxed sets
available.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
Little value in this disc for Mozart fans.