K491 is, probably, Mozart’s most profund utterance
in the medium he so loved. It’s three movements are almost
tragic without respite; never despairing, never hopeless. For
Mozart there is always, must always be, hope. It is a work of
towering genius, and one which will always stand head and shoulders
over the concertos on either side of it - the pretty
K488 in
A major and
K503 in C.
K482 is quite the opposite.
It is big and bold - incorporating the largest wind band Mozart
ever used in a Piano Concerto - and conceived on a grand scale.
Both works need a special pianist to make them speak and David
Greilsammer certainly has the technique, but does he have the
musicality required?
K491 has always been one of my favourite Mozart piano
concertos, therefore I always look for something special. I want
the music to be dark, but not jet black, there must be some light
admitted, and although the music is filled with tragedy there
must be moments where it is allowed to smile. The tempi are of
paramount importance; if you misjudge them you ruin the whole
composition. Greilsammer, who directs the orchestra from the
keyboard, chooses a tempo for the first movement which is so
fast that it robs the music of tragedy, pathos, hope and desperation;
it’s breathless. It couldn’t be more incorrect if
it tried! For me, this immediately makes this recording a non-starter.
The slow movement has a better tempo but it is still rushed.
The finale is the problem movement: Mozart didn’t give
it a tempo indication so you have to rely on your musicality
in choosing a tempo. Yet again Greilsammer is too fast. What
we have in this performance of
K491 is a work which seems
to be some kind of virtuoso showpiece. I was conscious throughout
of the rushes of notes above all else - at the expense of the
poetry of the music. I shall never forget Alfred Brendel’s
final London performances last year when he gave this concerto.
It was an interpretation of such epic simplicity that one was
left speechless at the end; the performance was so fine that
words were unnecessary. Here words come tumbling out, if only
to express unhappiness.
For the complete Mozart concertos go to the wonderfully, and
very reasonably priced, boxed set of Geza Anda, directing the
Salzburg Mozarteum (Deutsche Grammophon 469 510-2). I always
seem to be looking backwards for great performances of this work
but then look at the calibre of the players. Clara Haskil, with
the Franch National Orchestra under Cluytens, in a live performance
from 1955, is quite outstanding (Music and Arts CD863, coupled
with a live Beethoven
4th Concerto).
Kathleen Long, is as exquisite as ever, with the Concertgebouw
under van Beinum on 78s recorded in 1948, in a mixed programme
which includes
K450, conducted by Boyd Neel (Dutton CDBP
9714). For a real aristocratic and intelligent performance look
no further than Solomon in
K450,
K488 and
K491 (EMI
353 2112 with various conductors). For more modern sound there’s
Alfred Brendel, with the Scottish Chamber Orchestra under Mackerras
(Philips 0289 462 6222 (
K491 and
K466)), or, indeed,
Daniel Barenboim with the English Chamber Orchestra (Classics
for Pleasure 2282782 coupled with
K466).
K482 is a real extrovert piece, festive in its own way
and a delight. I wonder why, on this disk, it follows
K491 instead
of preceding it. Perhaps the manufacturers thought that a happy
ending was necessary. Greilsammer is certainly more comfortable
here than in
K491, for the happy mood suits him. Also
this music is easier to understand. Once again I am conscious
of the pianist’s runs and turns and I am less involved
in the music. This CD is more David Greilsammer plays Mozart
than Mozart played by David Greilsammer.
I really cannot raise any enthusiasm about this disk. Neither
performance shows interpretive insight nor does it have that
special spark which brings a performance to life. I learned
K482 from
the old Brendel Turnabout LP (now available on a 2 CD set containing
K453.
K503,
K595,
the
Rondo K382, and Haydn’s
Concerto in D, H18/11 as
well as
K482) and although the orchestral playing isn’t
of the very best the performances are red hot, very exciting
and pleasing. Otherwise Annie Fischer, with the Philharmonia
under Wolfgang Sawallisch (EMI Great Recordings of the Century
562 7502, coupled with
K467) is a must, as is Barenboim’s
1967 account with the English Chamber Orchestra (Classics for
Pleasure 5 21868 2, coupled with
K488).
With the best will in the world I cannot recommend this disk
for it is not for the Mozartean. The interpretations are too
misjudged. Neither is it for the general listener for it offers
little to really get ones teeth into.
Bob Briggs
David Greilsammer (piano), Suedama
Ensemble 
