Felicja Blumental (1908-1991) 
                recorded a couple of albums under the 
                generic title ‘Friends and Rivals’ which 
                included Beethoven and Hoffmeister [review]and, 
                as with this one, Mozart and Clementi. 
                In their case friendship was rather 
                less pronounced than rivalry though 
                contempt might be a better way of describing 
                Mozart’s position ("Clementi is 
                a charlatan, like all Italians.") 
              
 
              
A pupil of Drzewiecki 
                in Warsaw, Blumental’s reputation has 
                been based on her exhumation of unusual 
                repertoire both from the classical period 
                and the early nineteenth century. It 
                was therefore good to have encountered 
                recently her impressive Chopin – no 
                sense of specious romanticisation – 
                and her Mozart Concerto here. She earned 
                a fine repute for her Mozart in Vienna 
                and was active in the recording studios 
                in Salzburg and also in Innsbruck among 
                other places. The E flat major certainly 
                bears out her reputation as a cultivated, 
                idiomatic and sensitive musician. She’s 
                accompanied by Leopold Hager, himself 
                Salzburg-born, whose Mozart Concerto 
                recordings with Engel will undoubtedly 
                be better known than this 1976 traversal 
                of the Jeune Homme with Blumental. 
              
 
              
Coupled with it is 
                the Clementi, a bigger, bolder and more 
                attractive work than one might have 
                imagined. I believe this performance 
                has been available in a Vox Box but 
                its appearance here is no less attractive 
                – not least in uniting her with Alberto 
                Zedda with whom she recorded a slew 
                of similarly rare repertoire (Paisiello, 
                Viotti, Koželuh, 
                Vogler). Clementi’s Concerto in C certainly 
                breathes Mozartian air albeit rather 
                more constricted. It’s a degree more 
                stiff, though has plenty of logic in 
                its development and animation as well. 
                The slow Adagio is the high point and 
                is played by Blumental with great 
                simplicity and directness. The finale 
                is confident and strong. 
              
 
              
The 1976 and 1980 recordings 
                are not the last words in refinement 
                but there’s plenty of clarity to compensate. 
                Brana continues to do good work in restoring 
                Blumental’s legacy to the catalogue. 
              
 
              
Jonathan Woolf