RECORDING OF THE MONTH
Wolfgang Amadeus MOZART (1756-1791)
Piano Concertos - Volume 1
CD 1
Piano Concerto No.24 in C minor, K.491 (1786) [31:45]
Piano Concerto No.25 in C major, K.503 (1786) [31:56]
CD 2
Piano Concerto No.26 in D major, K.537 “Coronation” (1787-88)
[30:17]
Piano Concerto No.27 in B flat major, K.595 (1788-91) [32:14]
Vassily Primakov (piano)
Odense Symphony Orchestra/Scott Yoo
rec. November 2008 (K.491, K.595), October 2009 (K.503, K.537), Odense Konserthus,
Odense Denmark. DDD
BRIDGE 9328A/B [63:54 + 62:46]
This is a wonderful reading of Mozart’s last four piano concertos. It
is simple and very lyrical. Primakov had already shown himself to be a master
of piano touch: here is further proof of his mastery. There is also the feeling
of thought behind the interpretation. It does not make the music dry and intellectual,
but it is purposeful. Even the great pianists played some passages in Mozart’s
concertos because … well, just because they are written there. In Primakov’s
recording, each moment is necessary, like precise words in a good poem. His
sound is beautiful, and he manages an almost impossible task: he plays the
three last major-key concertos so that they can be listened to in a row, in
one breath - again, and again, and again - with great pleasure.
This is not only to the pianist’s credit. The Odense Symphony, led by
Scott Yoo, is an equal partner. The conducting is light and flexible with
attention to detail. The strings express the slightest nuance and gradation
of mood. I would particularly praise the woodwinds. Their role (especially
in No.24) is very important, and they do not allow a single weak phrase. Their
friendly commentary lights up the music. What is significant, the pianist
lets them shine - he is never jealous of them stealing the limelight for a
while. And so we hear the music, and not just piano flourishes with orchestral
background.
In the first movement of No.24, Primakov and Yoo sharpen the difference
between the angular, angry first theme and the soft, poetic second subject.
This brings to mind the First concerto of Brahms: is this where it grew from?
This said, the performers remember that this is Mozart, not Beethoven. They
do not cross the line between the dramatic and the tragic. Dark clouds fill
the sky but there is no thunderstorm. Primakov chooses interesting non-standard
cadenzas: here it is by Fauré, and very Romantic. The slow movement
is marked by a perfect woodwind ensemble. The finale is not too fast, which
is to the good. The music is sung to us, instead of the usual way when
it rushes past like an express. Primakov’s playing is so lyrical, and
the orchestral support is so sympathetic, that I’d bet this is henceforth
the version of K.491 that I’ll return to the most often.
No.25, the “Jupiter” of the piano concertos, has a lot of
bright C-major light. But this is not a brazen sun shining on golden helmets.
This is the light on sunlit trees, on running water; this is the brightness
of meadow flowers. The joy is very Mozartean, with the spirit of The Magic
Flute in the air. There is much repetition going on, but in the hands
of Primakov and Yoo it does not seem plainly repetitive, as they always underline
the musical progression. The cadenza is simple and fits in very naturally.
Primakov savors the tranquil slow movement. Even the bravura of the finale
is not mechanical.
No.26 in Primakov’s reading is elegant and graceful. The accent
is moved to the piano part, more brilliant here than in other three concertos;
the orchestra draws back a step. And the pianist well deserves this attention,
by his careful handling of each note. He makes the music breathe - and you
may notice that you synchronize your breath with the music. The cadenza by
Wanda Landowska is elegant and well crafted. In the pastoral slow movement,
Primakov employs his magic touch. Here the writing is sparse, and every note
is on display. He brings expression to each little phrase, but without visible
means, without cheap external pressure: oohs and aahs. The seemingly
simple musical material kindles breath-arresting attention and anxiety. The
Danish strings provide a very well measured background. In the finale, the
pianist chooses not to “raise his voice”, giving us a subtle Haydnesque
play of light and shade.
In No.27 Primakov emphasizes the work’s wistful, elegiac traits.
He does not turn Mozart’s last piano concerto into His Last Piano Concerto,
as some performers do when solemn weight goes into overload. The music is
touchingly intimate, personal and balmy. Primakov does not hurry forward in
the slow movement, making it a long, static pleasure, as if submerged in a
warm aromatic bath. The finale is lively, and has a mischievous smile. There
is no abandon here: this is the joy of a grown-up looking at children, not
that of the children themselves. We may be used to more buoyant versions,
but this one has a very organic fit.
I can’t imagine someone being disappointed by this set. Even if you
have other versions of these masterpieces, Primakov’s lyrical approach
is brilliant yet emotional, light yet soul-profound. Moreover, he is consistent
throughout, making this a real set, not just a compilation of four recorded
concertos. Scott Yoo and the Odensians are excellent partners, sharing the
lightness of touch and the lucidity of emotion.
The extensive and very informative notes by Malcolm MacDonald deserve to be
a chapter in a book. They provide a good overview of the history of creation
of the works, together with a deep musical analysis. I noticed a couple of
strange things - like talking about “Mozart’s widow Constanze”
in 1789: hey, the guy was still alive! But overall this is very good read.
The recording is crystal clear and transparent. This is without doubt my Recording
of the Month. Mozart’s final piano concertos are so familiar - we think
we know them like the back of our hand. What a pleasant surprise that new
things can still be discovered there. But such discoveries - or discoverers
- do not come too often. I can’t wait to hear Volume 2!
Oleg Ledeniov
Primakov’s uniquely lyrical approach - brilliant yet emotional, light
yet profound.