Mozart - Violin Sonata 25 [Steinberg/Uchida]

Wow what a lovely little disc this is, i bought this disc a couple of years ago, didn't think a lot of it, this is its third playing, but now i think this is one of the best Mozart Violin Sonata discs i own, i've played K377 before, but it's like 'where has this Sonata been hidden all my life?', it's a tremendous work, how come i've brushed over it before?, the opening phrases are a revelation here in the hands of Steinberg / Uchida, 

I think Mark Steinberg is American, don't know much else beside this, the booklet notes state that Steinberg / Uchida have been playing these pieces for the last 12 years, so not a quick get together to throw off a recording, this was recorded in 2004, the front cover is a black & white shot [by Ben Ealovega] showing Uchida in the foreground in focus, and Steinberg in the background out of focus, a really nice shot, the lettering is very complementary, incidentally Mozart named these 'Sonatas for Piano and Violin', and not Violin Sonatas [which is what i call them], whereas Beethoven called his 'Sonatas for Violin and Piano', is there a clue in the picture who the boss really is?.

Well like i said above, it was the first movement that was a revelation, it's less than 4 minutes long, but it really packs a punch, it's in the key of F major, the opening bars are such a joy to behold, the violin plays frantic bowing, while the piano plays a strong skippy little tune [0:00-0:13], bustling with happy joy, and then the two swap over, the violin plays the tune, and the piano plays the complex accompaniment [0:13-0:23], one of Mozart's loveliest inventions / starts, after a minute they repeat the opening again [1:06-1:27], and again what a joy to behold, the third time the tune it's now changed into a different key, possibly the Minor [2:10+], but it still sounds great, the movement comes to a sudden nice end, and yet i feel it's all over too soon, Mozart could have done so much more with this little Scherzo of a piece, why waste such a great tune and musical ideas on a 'trifle?', and yet i guess its shortness makes it all the more endearing, i need to really listen carefully to Mozart's other Violin Sonatas, Uchida and Steinberg produce some great music here.

Here's Mutter playing this Sonata on YouTube.

Mozart - Piano Concerto 20 [Kissin/ Spivakov-Moscow Virtuosi]

This was a fantastic experience, every now and then a very familiar work really hits you like a ton of bricks, this happened today with me, the whole thing just flows like molten lava, Kissin and Spivakov do everything right, i was just in the mood for this today, Mozart's number 20 is my favourite Piano Concerto of his, must have heard it roughly 125 times, but this disc only gets its second playing, and on feeling for it, i'm sure it will get many more, Kissin also has another newer crack at this work, on EMI coupled work Piano Concerto 27, with Kissin conducting the Kremerata Baltica, i'll look out for that one too, this disc appeared in my Blog in 2011 [11th November 2011].

Evgeny Kissin is Russian, he's now 43, he made this recording in 1992 when he was roughly 20, the front cover photograph [by Bette Marshall], shows Kissin at the keyboard, i think this picture came out when he recorded the other work on the disc when he was 16, he certainly looks young, the photo is lit in a lovely way, especially the keyboard, the lettering is great, well laid out, a really pleasing booklet cover.

The first movement was absolutely tremendous, i was doing some writing while listening to the work, and i had to keep stopping, i just couldn't concentrate for the music, Kissin is so intense, the music moves along in a menacing way, and the D Minor key hostility is brought out to the fore, this is no pleasant 'happy tune' Mozart, it's a real demon, here's my synopsis,
The opening introduction is ominous, restless strings, until the whole thing explodes [0:28+], the invention of the whole thing before the piano arrives is a creation of genius, it's less of an introduction, and more of a statement that the piano now has to 'fight' to get heard, and when the piano does come in it sounds innocent [2:20+], but quickly the piano ends up in turmoil too, i like Kissin's tone, a really beautiful sounding piano, in lovely clear sounds, the orchestral tutti's keep switching from sweet to angry, and i just love those 'braying' strings with their opening motif, just listen to Kissin's call and response to the orchestra [6:50-7:10], he seems to be quite a hard hitter of the keys, and creates a real argument with Spivakov, there's a real feel of the whole thing just going round and round as a nightmare that won't ever end, but from the listeners point of view it's a wonderful effect, in the long cadenza [10:47-13:08], which i guess must be by Mozart, Kissin gets to shine solo, i love the way he really thrusts into those braying opening chords [12:00-12:10], nice and loud and menacing, and gives a spectacular lead in as he leaps into his finale [12:52-13:08], the orchestra has the last laugh as it winds down [13:53-14:08], the woodwind especially in reflective mode.

Here's Kissin playing this Concerto on YouTube.

Mozart - Piano Concerto 20 [Brendel/ Mackerras-Scottish Chamber Orchestra]

It's great to have this coupling, with Mozart's two Minor key mature piano Concertos together, they make an apt 'twin', and like yesterday this is in D Minor also, and my favourite Mozart Piano Concerto, and my favourite Pianist too!, and with a Chamber Orchestra, it's perfect for Mozart, altogether a great combination, this disc has featured highly in my Blog before [20th October 2011 & 28th October 2012].

Alfred Brendel is Austrian, he's now 84 and retired, he recorded this disc in 1998, the front booklet cover shows a grainy black & white photo of Brendel's head [by Regina Schmeken], a mustard coloured band at the bottom, with Mozart in large letters, and different fonts of black and white for the rest, it's a great and clever idea, the back inlay is roughly the same, all cleverly done.

I just can't help loving this opening movement Allegro, it has some of the greatest Mozartian ideas, it reminds me of ideas in his Requiem [also in D Minor], braying brass, instruments seemingly grating on each other, but in actuality sounding the other sort of great!, the introduction by the orchestra is a moment to savour, full of anxiety and trouble, high strings and low strings competing against each other [0:00-0:31], and the brass come in shocking us with their brashness [0:31+], if the D in D Minor represents Death in his Requiem, then D minor here stands for Danger, themes of this opening are repeated by the orchestra as the introduction [0:00-2:24], the piano has at first a more brighter view of the music, while the orchestra remains dissonant, but quickly the piano adopts the same dark forebodings [2:57+], it's so easy to examine every little phrase by Mozart, and find something incredible in there, this work is so choc full of great things everywhere, rarely but at certain points you can hear Brendel groaning, really getting into his playing, like some idee fixe, the opening motif keeps coming back again and again, and it's such a joy to hear, it creates an incredible power, Brendel uses his own cadenza in this movement [11:17-13:08], strange at first, as your expecting the usual, but it's actually good to hear music composed by Brendel!, of course it's kept around the themes of Mozart's music, and it fits within the era of the times, Brendel's a great exponent of Mozart.

Here's Brendel playing the first movement on YouTube.

Mozart - Piano Concerto 20 [Schiff/ Vegh- Camerata Academica Des Mozarteums salzburg]

Probably my second favourite version of this Concerto, i seem to play this quite a lot, last appeared in my Blog in 2012 [30th September 2012], Andras Schiff is a great interpreter, and the Orchestra is somewhat of a chamber outfit, so you get a smaller feel for these works, probably more like what Mozart would have experienced in his day, plus Schiff plays a Bosendorfer i believe, a shade more toward what Mozart would play, rather than a Steinway, of course a pianforte 'original instuments' version it ain't, but Schiff gives you a feel for things, and i think good ole Wolfgang himself would have been pleased with the results.

Andras Schiff is Hungarian, he's now 61, he recorded this disc way back in 1989, i didn't realise this recording was that old, Schiff has recorded the full cycle of these Concertos, available in all sorts of packages, i love sampling individual discs, and i believe this is the best of the bunch, each of the front booklet covers show photography by Phil Sayer, showing Schiff i guess in Vienna?, with architecture in the background leaning, and low down shots with wonderful lighting, i love the blue theme throughout the cycle.

Well it the first movement Allegro that always gets me, it's Mozart's greatest Piano Concerto movement in my opinion, it's just so revolutionary, it has an incredible drive to it, it starts off quiet enough to begin with, but there's this undercurrent of unease and dread, a braying on the lower strings gives it a certain menace, and a sharp blast from the horns make you jolt upright! [0:28], i love this opening tutti from the orchestra, it's not a mere intro just to announce the piano, it's the music itself, the orchestra gets equal billing here, the piano also starts innocently enough [2:20], except for the fact it's in D Minor!, the same key for his Requiem [D for death as far as i'm concerned!], but of course the niceties are cast aside as the full force of the Minor key is exerted, the tension and knots it delivers are breathtaking, the way Mozart makes it all weave and thread together is masterly, i love the sound of the piano in this recording, the bass has a certain growling / rumbling tendency, very appropriate, i must admit Schiff can be a little too staccato and lumpy at times, a more delicate and flowing touch would have done better [Uchida?], i love the way that right after the cadenza, the orchestra come right back in with a jolt! [13:32], nicely knocks your socks off.

Here's Andras Schiff playing and conducting this Concerto on YouTube.

Various Composers - 'Liebestraume' Piano Encores [Spanswick] 

This disc appeared in my Blog early this year [13th January 2012], so it's getting great exposure, Spanswick is not a household name, not really a Concert Pianist, she seems more on the periphery, but i like well chosen recital programmes like this, though not everything is what i would have chosen, and i would have included other Composers, notably Faure, Prokofiev, Ravel, Schubert [a big omission], and Albeniz, less Debussy and Chopin, possibly more Brahms, but it's still a great mix, which is best played on random / shuffle, as it mixes up the same Composer that remains unmixed played straight, with 71 minutes of music, it's great value for money too.

Melanie Spanswick is English i take it, she doesn't live that far from me!, she recorded this disc in 2002, the front cover is an excellent one [photograph by Hilary Shedel], showing her sitting at the piano, with her back to the instrument, lovely dress, and the curly hair..., it's a great perspective, lots of interesting things in the photograph, plus it's good that she's not central to the picture, but it equally shows the piano, my copy is signed by her, which is a nice extra touch, a lovely disc to own.

Well in listening to this today, i was especially taken aback by tracks 1-2 & 11, i would like to talk about each, and as i spoke about track 11 Liszt's 'Un Sospiro' last time, i would like to talk about track 2 Mozart's 'Rondo Alla Turca' this time, it's the last movement of his Piano Sonata 11, but it stands up as an individual piece very well, it's in Rondo form, which means the whole things keeps coming around again and again, rather like a horse on a carousel, very nice use of the treble keys, with two distinct sections, the opening tune, and a counter melody response [0:47-1:02], both are wonderful, and they nicely juxtapose each other, almost encouraging each other to greater heights, it's only near the end that the second melody tune branches out into a thrilling finale [3:05+], the legato of the whole piece is very delicious!.

Here's Mozart's Rondo Alla Turca' being played on YouTube, you can easily see the keys / fingering.

Mozart - Serenade 10 'Gran Partita' [Marriner -Academy Of Saint Martin In The Fields] 

What a wonderful work this is, how does Mozart do it?, there are other 'similar' works like Schubert's Octet, that just don't work for me, a small bunch of woodwind players automatically has warning bells going off for me, they just don't jive together, so it's all the more refreshing and original when not only does it work, but it works in spades!, the whole thing bubbles along through a myriad of gorgeous tunes and melodies, plus this isn't a 25 minute little work, it's almost 50 minutes long, to create a work on that large a scale, and to keep up tremendous invention so that interest and attention never flags, now that's one amazing work, there's always the problem of having a variety of colour in a work when you limit yourself to fairly similar instruments, but how much i do not miss strings or brass, Marriner gets a fantastic sound out of just 13 instruments, i love this disc, i've had it since 1992, i bought it in London second hand for about £5, it's scratched quite badly, but it played beautifully, found in my Blog two and a half years ago [4th July 2010].

Neville Marriner is English, he seems to be going on forever, he's now 88, and shares the same birthday with me [though not the year], he recorded this work in 1984, the booklet cover shows three shiny woodwind instruments, clarinet, bassoon, and i guess basset horn, i love the gleaming look of the instruments, there's a green theme to the colours.

Three movement stood out from the rest, 2 & 6-7, and it was the wonderful Theme and Variations that i just couldn't help falling in love with, on the back inlay i've written out the timings for the individual variations for this movement, and i'd like to give my feelings on each one here,

Theme [0:00-1:13] - a simple theme, mainly supplied by the clarinets, but already there's that bubbly undercurrent waiting to be exploited.
Variation 1 [1:13-2:27] - the oboes turn things up a notch, sounding so lovely and happy, truly blissful music making.
Variation 2 [2:27-3:43] - everyone seems to get a turn, and i think the bassett horns take over, giving a deeper richer texture, jovial indeed.
Variation 3 [3:43-5:00] - next up it's the bassoons, though they seem to get drowned out, and the clarinets steal in, but the bassoons come back in a wonderful undercurrent.
Variation 4 [5:00-6:18] - a sparse variation, quite staccato in a way, everyone holding back.
Variation 5 [6:18-8:54] - a serene variation, oboes and clarinets dreamily serenade out the main tune, there's such a sense of pastoral-ness, the oboes are so heavenly in their playing [7:19-7:58] underpinned by i believe the bassett horns gently murmuring, now that so heartbreaking, and they play the same serene-ness a third time [8:16-8:54], certainly my favourite variation of the six.
Variation 6 [8:55-9:46] - the last variation is of course more upbeat, the shortest of the six, it's certainly a finale, nice and very bubbly by all the instruments, and the perfect foil for the following final movement.

Here's the sixth movement Theme and Variations conducted by Ivan Meylemans on YouTube.

Mozart - Piano Concerto 20 [Brendel/ Mackerras-Scottish Chamber Orchestra] 

This is a great and logical coupling, bringing together Mozart's late Minor key Concertos, number 20 is the darker of the two, written in the key of 'death' [D for D Minor!], the opening of the first movement has that tremendous drone, it really sets the scene for what follows, Brendel is a great Mozartian, and it's good to hear him in this Concerto again, i played this same work just over a year ago today [21st October 2011], it's my favourite Mozart Concerto, and a fantastic work i never tire of hearing again and again. 

Alfred Brendel is Austrian, he's now 81, retired from the concert platform, he's still active in other ways, he recorded this work in 1998, the front cover photograph [by Regina Schmecken] is a side profile head shot, nicely capturing detail in black & white, the lettering is contained in a mustard coloured band at the bottom, the Mozart name cleverly laid into the photo, a nice creative idea, with black and white lettering.

As i mentioned above, the opening movement is just tremendous, it's a true marvel of creation, Mozart's best concerto movement, however on this listen i was entranced by the middle movement Romance, it's a lovely delicate movement of music, serene and beautiful at first, it's away from the D Minor opening movement, and into a B Flat Major sweet key, but it's not all sweetness as there's a turbulent G Minor middle section, . 

Here's Mitsuko Uchida playing the central Romance second movement on YouTube.

Mozart - Piano Concerto 21 [Schiff/ Vegh-Camerata Acedemica Des Mozarteums Salzburg] 

Now this was a sublime experience, out of these two Concertos on this disc it's number 20 i like the best, however today the 21st just blew me away, especially the slow movement, i would say this is my favourite version of this coupling of these two Concerti on disc, Mozart wasn't someone who used a huge Orchestra like Mahler or Bruckner would, and it's great that this is a chamber orchestra playing this, there's something more intimate about the whole thing, nicely recorded and superbly communicated, i played this on the way to Church today, the weather is getting colder, but this warms my heart.

Andras Schiff is Hungarian, He's now 58, he recorded this disc in 1989, Schiff has done a whole series of discs covering the Mozart Concertos, the photographs of Schiff [by Phil Sayer] are all slanted at an angle, i actually like this, all of them looking up from low angles, with some nice architecture in the background, i love the silhouette leaves in the foreground, and his face is well lit / shadowed, the theme of the blue band for the lettering is great also, it gives each photo a very tall and narrow perspective.

The second movement is the one that really got to me, this can be overdone and full of gush, but here it's presented in all innocence and simplicity, and it really benefits from that, it's only 6:42 long, this movement is played in F Major, very dreamlike in flow, it's the high violins that play the sweet melody, while the other strings play the rhythm, both bowed and pizzicato, the intro is short [0:00-1:26] but you don't want it to end, it would have made a gorgeous purely orchestral piece, the melody is one of the greatest things that Mozart ever wrote, and the piano comes in to play it very simply indeed [1:29-2:10], Schiff plays the second version of the tune more complex, and a shade darker [2:18+], it's just so simply irresistible, the woodwind jump on the bandwagon at times, giving some great sonorities, and i can hear a wonderful bassoon in there [3:38+], like a gliding swan, there's only a slight ripple here and there which might ruffle the feathers, the original opening piano tune starts up again [4:34+], and it's so good to hear that melody in its pureness again, Schiff throws in the slight changes, towards the end Mozart echoes the main tun on the piano with the lovely melody in the bass [5:57-6:09], and it ends on a slowing rhythm of calm, now that really touches the soul.

Here's Murray Perahia playing the second movement Andante on YouTube.

Mozart - Flute Concerto 1 [Brooke/Vasary-Philharmonia Orchestra] 

I don't listen to these works a great deal, they're what i call 'sweet' Mozart, easy on the ear, and Concertos of not great depth, not like his Piano Concertos, but it's good to bring together a collection of three congenial woodwind / brass works under one disc, and to keep myself familiar with these works, again this is a disc that finds its very first outing, and this is the first time i've mentioned a Flute Concerto in my Blog, i enjoyed this today. 

Sarah Brooke is English i take it, i can't find much about her, this disc was recorded in 1989, on the now defunct Collins Classical label, but the company has left behind a lovely bunch of recordings that are still available from second-hand sources, the front booklet cover is very lovely indeed, showing a flute, bassoon, and oboe horizontal and lying next to each other, gives a lovely impression of keys and stops, and the lettering above is well placed, really love the colours it gives off.

The first movement is brilliant fun, full of sparkle and ideas, and a great virtuoso workout for the soloist, it also has some great tunes too, sounding like one of Mozart's upbeat Opera Arias, on this performance it lasts just over 9 minutes, the almost direct quote of a familiar but yet can't put my finger on it Aria is in the orchestral introduction [0:47-0:55], and also comes later with the Soloist [2:48-2:57 & 7:04-7:13], it meanders all over the place, without truly becoming distinctive, at the end there's a cadenza [7:47-8:59], a lovely sunny piece.

Here's Emmanuel Pahud playing the first movement on YouTube.

Mozart - Piano Concerto 20 [Curzon/ Britten-English Chamber Orchestra] 

My favourite Mozart Piano Concerto, and features highly in my Blog, this is the first time that i've given this a spin, i rate Clifford Curzon highly, however he hasn't made many recordings, and it's good to hear him with a Composer / performer, i don't have enough recordings by Britten to rate him, it was also good to hear Piano Concerto 27 as well, a lovely work that i've neglected. 

Clifford Curzon was born in 1907, and died in 1982, an Englishman, he recorded this disc in 1970, the recording is very good for its age, and considering that both Artists are dead, i thought this recording would be a lot older, i must admit that there's a shrillness in the orchestra at times [especially in fortes], it could do with more warmth, the piano is nicely caught though, the front cover shows two pictures each of Curzon and Britten, [the Curzon are by Editta Sherman], black & white shots showing them in different poses, i think the Curzon ones are more inventive, i like the symmetrical-ness of the pictures, thin white lines inbetween, the lettering well laid out, Curzon in red, and Britten in blue, i really like it a lot.

Well again it's the opening movement which is so compelling, those opening drones by the low strings in D Minor set the whole tone of the work, with the sour violins [0:00-0:33], and then the brass explosions create real tension [0:32+], the whole of the intro is a study in mood and suspense [0:00-2:31], after the first piano solo, i just love the way the opening orchestral intro comes back in [2:58+], and the piano joins in [3:05+], that's a magical moment the piano rumbling away in the bass, and the way it goes up the keyboard into a frantic-ness [3:05-3:40], and each time the opening comes back it's just so magical [5:33+, 8:04+ & 11:13+], during the cadenza at the end, the piano mimics the drones at the beginning of the work [12:52-13:02], a nice moment, and right at the end of the cadenza the hands go all over the piano [13:45-13:53], a really powerful and memorable movement.

Here's the middle Larghetto from piano Concerto 27 on YouTube, i couldn't find anything for Piano Concerto 20 by him.