Mozart: Piano Concertos 20 & 27 (CD review)

Evgeny Kissin, Kremerata Baltica. EMI 50999 6 26645 2 3.

The idea on this disc is to contrast two of Mozart's late piano concertos, Nos. 20 and 27, to show how they demonstrate, on the one hand, the composer's darker dispositions and, on the other, his lighter, final words on the subject. The idea works pretty well, thanks in large part to solo pianist and conductor Evgeny Kissin and the chamber orchestra Kremerata Baltica.

Like Mozart, Kissin was a child prodigy, Kissin giving his first public recital when he was about ten and recording his first album when he was around thirteen. Here, he shows us his affinity for Mozart in two creative yet loving interpretations. When he was younger, Kissin struck me as spending more time dazzling listeners with his magic finger work than in delving too deeply into the music he was playing. Now that he is older, approaching forty, his maturity and experience materialize in more thoughtful and heartfelt performances. These Mozart recordings are a good example.

In the Piano Concerto No. 20 in D minor, K466 (1785), Kissen establishes the work's ties to Mozart's later Don Giovanni (1787) from the opening notes, all brooding and threatening. But then when the piano enters, it's gentle and soothing, at least until it catches up with the more menacing tones of the first few minutes. After that, Kissin alternates Mozart's more austere and rhapsodic moods. Interestingly, the booklet note says that Kissin does not improvise the extended cadenza at the end of the first movement as Mozart undoubtedly would have done but, instead, uses Beethoven's popular version. Still, Kissin makes the cadenza sound improvised in its spontaneousness and spark.

The slow movement Romanze is really the heart of the Concerto, however, and Kissin handles it with great respect, if not quite wringing from it the utmost pathos that, say, Curzon (Decca) did. Nevertheless, the overall effect works nicely enough, and one comes away properly moved by the music. A somewhat ambiguously sparkling Allegro concludes the piece in an assumed carefree manner.

Piano Concerto No. 27 in B flat, K595 (1791), was Mozart's final piano concerto, and in comparison to No. 20 it is lighter and more lyrical, but it is also perhaps a touch more melancholy. At least, that's the way Kissin sees it. Kissin takes all the movements a bit more quickly than many of his rivals yet never lets the music's inner beauty become obscured. Even the jaunty little final movement has an air of wistfulness about it. These are perceptive and original interpretations by Kissin that should not go unnoticed.

EMI recorded the two concertos in Munich in 2008, capturing a pleasantly ambient acoustic that perfectly suits the music; it's slightly resonant without in any way hampering midrange transparency. There is ample stage depth for the relatively small ensemble accompanying Kissin, with a realistic piano sound, reasonably wide dynamics, a modest impact, and good, clean definition and air. It's probably easier to describe the sound by what it's not: It's not bright, hard, or edgy nor is it unnecessarily warm, soft, clouded, or fuzzy. For this music, it is just right.

JJP

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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa