Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto No. 11 in F major, K 413 (1782-83) [23:05]
Piano Concerto No. 12 in A major, K 414 (1782) [26:53]
Piano Concerto No. 13 in C major, K 415 (1782-83) [28:09]
Mark Bebbington (piano)
Orchestra of the Swan/David Curtis
rec. Pittville Pump Room, Cheltenham, 12 March 2006
Somm 066 [78:07]
Comparisons: Ashkenazy/Decca, Bilson/Gardiner, Perahia/Sony, Schiff/Decca,
Uchida/Philips
Given the huge discography afforded Mozart's piano concertos, a new recording
has to be rather special to gain any leverage on the market. Sad to say, this
new Somm recording is neither special nor as rewarding as the comparison
versions listed above. However, it does possess some fine features that should
be noted.
Formed in 1996, the Orchestra of the Swan tends to specialize in new music and
has commissioned numerous works in recent years. This is a fine orchestra that
executes the Mozart piano concertos in excellent fashion. Pianist Mark
Bebbington, who has garnered much praise for his recordings of British piano
music, gives a sterling performance that is fluid and graceful while partnering
expertly in dialogue with the orchestra.
The problem with the performances rests with the orchestra's director, David
Curtis. He might well be outstanding in conducting modern music, but his way
with Mozart is problematic. To come to the crux of the matter, I need to
provide some background to the three concertos on the disc. Mozart wrote them
soon after his departure from Salzburg and arrival in Vienna. His aim was to
gain a fine reputation in Vienna and earn considerable monies. As Mozart wrote
to his father in the autumn of 1782, "These concertos are a happy medium between
what is too easy and what is too difficult; they are very brilliant, pleasing to
the ear, and natural, without being vapid".
I would add that these three concertos, unlike a few of his more mature works in
the medium, are relatively devoid of any profound utterances - brilliance,
vitality and lyricism are the qualities that need to be highlighted. However,
Curtis employs slower tempos than those from the comparison performances,
thereby dampening the music's brilliance and vitality. I have nothing against
slower than normal pacing as long as there are benefits to be gained, but no
benefits are forthcoming from Curtis. Instead, the performances come through as
somewhat lumbering vehicles that fail to take flight.
Of greater damage is the soundstage listeners have to endure. The upper
strings are on the grainy side, bass response is boomy/poorly defined and the
piano tone is too wet and overly reverberant. The absence of a bloom to the
sound is a major detriment to a Mozart recording, and Curtis and his forces are
not able to overcome this problem.
Don's Conclusions: Given the slow tempos employed by Curtis and the rather odd
and unattractive sonic properties, I am unable to put my stamp of approval on
this new Somm recording. The comparison versions are just the ones I listened
to in conjunction with this review. There are also many other alternative
recordings of these three piano concertos that surpass the Somm. One choice
that comes to mind is the recent Arte Nova cycle featuring pianist Matthias
Kirschnereit and the Bamberg Symphony Orchestra conducted by Frank Beermann;
it contains youthful and vibrant accounts of Mozart's earlier piano concertos
that significantly best the heavy performances from Curtis and his orchestra.
In any event, readers are advised to "take a pass" on the Somm; the competition
is overwhelming.
--
Don Satz
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