Mozart's last piano concerto, the B flat major K.595, was written in the
final year of his life; the only other orchestral work that followed was
the Clarinet Concerto.  The B flat major has the same scoring as Concerto
No.  19, making them popular discmates.  Owing to the death of Mozart's
parents, a few of his children early on, and a letter that Mozart wrote
indicating that he was ready himself for death, some have felt that the
B flat major expresses a "resigned to death" theme.  Personally, I don't
strongly recognize this theme.  The music is mostly lyrical and intimate
with some deep unsettling emotions based on frequent hesitations between
major and minor keys.  There's some great contrapuntal writing and dialogue
among the woodwinds, strings, and piano.

The first movement is a deeply felt Allegro.  Legato passages are
prominent, and they need to be strongly projected.  Also, there are times
in the movement when it is easy to get into a lethargic state; these must
be avoided.  Lastly, effective dialogue must be displayed.

Mackerras continues the exciting and exuberant direction he displayed in
the F major Concerto.  O'Conor plays in a pretty manner; he's poetic and
quite delicate and dream-like.  But he is also understated with a subdued
legato that reminds me of "mood" music.  In O'Conor's hands, the music just
drones on with little distinction among musical passages.  I end up feeling
that the excellence of Mackerras is largely erased by O'Conor.

Schiff/Vegh are enjoyable, although Vegh is not as effective as Mackerras.
Schiff is more idiomatic than O'Conor.  However, the reading is relatively
slow, and Schiff sometimes sounds lethargic.  This is not one of the better
performances of the first movement.

Annie Fischer and Clara Haskil provide an interesting contrast.  Haskil
is musuclar, her legatos are strong(w/one or two exceptions), and she is
very exciting throughout the movement.  Fischer is poetic, her legatos,
not as weak as O'Conors, still lack oomph, and excitement is moderate.
Both Fricsay and Kurtz give fine support, although Kurtz clips off the
end of a passage at 30" into the movement.  I think of Fischer's approach
as similar to O'Conor's, but better in execution.  Haskil's strength
and urgency, without slighting lyricism or poetry, is very compelling.
I should add that both Fischer and Haskil omit bars 47 through 53 as
indicated by some printed editions.  Regardless of the matter of accuracy,
those are seven wonderful bars of music not to be heard.

Perahia's Chamber Orchestra of Europe is as flowing and beautiful as
the English Chamber Orchestra in Piano Concerto #19, much of this no
doubt owing to Perahia's direction.  The entire movement is beautifully
done; there is abundant poetry, lyricism, tenderness, and a creamy legato
to Perahia's playing.  The only thing missing is that last ounce of
muscularity which the music can absorb without damaging the other elements.
Haskil provides it.

Goode and the Orpheus Chamber Orchestra are at Perahia's level of
excellence.  The Orpheus has real "grit" and it sounds wonderful in this
movement.  Goode strongly projects the legato passages, and he is also
highly poetic.  I do have one complaint - Goode falls into a "lethargy"
trap about half-way through the movement; it drags significantly.

Gilels is excellent and Bohm is outstanding.  Bohm, directing as well
for Gilels as he did for Pollini, provides an exciting though rather slow
reading; it unfolds beautifully.  Gilels has much in common with Perahia
in terms of conception, including a little tendency toward soft-focused
playing.  The Gilels/Bohm partership is very good, and this version can be
confidently recommended.

Davis and De Larrocha are also excellent in strong contrast to their
recording of the F major Concerto, particularly De Larrocha.  She's poetic,
tender, has a good grasp of the legato passages, and strongly projects
herself.

The Haskil version is outstanding entirely because of Haskil.  Jarrett's
is as good, and he has superb support.  Davies has his pulse on the music;
he's angular, smooth, gorgeous - whatever it takes.  The recorded sound
is fantastic, allowing every nuance its full opportunity to impact the
listener.  As for Jarrett, his style is tailor-make for this music.  He has
a superb legato, poetic/smooth and strong, which he puts to excellent use
in the movement.

So, the Haskil and Jarrett versions are very special first movement
performances.  I like Perahia, Gilels, Goode, and De Larrocha very much.
Fischer, Schiff, and O'Conor are enjoyable in islolation but don't stand
up well in direct comparison with the other versions.

The second movement, Larghetto, is tender music rather simple in its
presentation.  Movement timings range from Jarrett at 6'37" to Gilels at
8'58", and these are the two versions I enjoy the most.  Jarrett gives the
music an infectious pacing of nobility without damaging its tenderness.
Gilels does very well, but it's Bohm who carries the day with orchestral
support excellently balancing urgency and tenderness, and providing a
luxuriant atmosphere.  The other versions all are very good, but they do
tend to remind me of the music's simplicity; Jarrett and Bohm transcend
this basic level.

Don Satz
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