Composer: Wolfgang Amadeus Mozart
Works: Piano Concertos No. 9 in E flat, K. 271; No. 25 in C, K. 503
Performers: Alfred Brendel (pianoforte), Scottish Chamber Orchestra/Sir Charles Mackerras
Recording: Recorded 3rd – 6th July 2001, Usher Hall, Edinburgh
Label: PHILIPS 470 287-2 [67’44”]
Wolfgang Amadeus Mozart’s piano concertos stand as towering pillars in the classical repertoire, with K. 271 and K. 503 representing critical junctures in his compositional evolution. The former, written in 1777, reveals a prototypical blend of classical clarity and lyrical expressiveness, while the latter, from 1786, showcases Mozart’s mature style, characterized by greater complexity and emotional depth. Alfred Brendel, accompanied by the Scottish Chamber Orchestra under Sir Charles Mackerras, brings a wealth of interpretative insight to these works, revealing not only their inherent beauty but also the intricacies of their construction.
Brendel’s interpretation of K. 271 is particularly noteworthy for its delicate balance between dynamism and introspection. The opening movement, Allegro, is rendered with a shimmering left-hand passage that captures the harmonic shifts with both grace and precision. Brendel’s approach to the second subject is revelatory; he emphasizes the triplet accompaniment, which breathes new life into the thematic material, contrasting with the orchestra’s initial quaver accompaniment. This nuanced treatment exemplifies Brendel’s ability to illuminate the text without sacrificing the integrity of the score. The slow movement, Adagio, benefits from a newfound poetic depth, demonstrating Brendel’s maturity as he conjures a hushed atmosphere reminiscent of the proto-romantic sensibility. Mackerras’s orchestral support is equally commendable, providing a warm, responsive backdrop that enhances Brendel’s narrative.
In the finale, Brendel adopts a surprising, almost whimsical approach to the minuet tempo, maintaining a sense of quixotic wonder that is both fresh and engaging. This interpretation reflects a lifetime of experience, yet it retains a spontaneity that is rarely found in performances of this repertoire. Comparatively, Brendel’s earlier recording with I Solisti di Zagreb, while vibrant, lacks the profound insights that he has cultivated over the decades. The recording quality here is notably rich and round, capturing the full spectrum of Brendel’s pianism and the orchestra’s lush textures, making it a superior listening experience.
Turning to K. 503, Brendel and Mackerras navigate the intricate interplay between soloist and orchestra with remarkable finesse. The first movement’s maestoso is treated with an Olympian calm, avoiding the temptation to push towards a heavier, Beethovenian sound. Brendel’s embellishments in the slow movement are not merely decorative; they serve to deepen the emotional resonance of the music, while his first-movement cadenza, which ventures beyond conventional harmonic boundaries, demonstrates both daring and a profound understanding of Mozart’s character. This performance, while embracing broad tempi, never drags; rather, it maintains a buoyant energy that propels the music forward.
The sound engineering further enhances this release, providing clarity and warmth that envelops the listener. The recording captures the nuances of Brendel’s touch and the orchestral color with a fidelity that allows for an immersive experience. Although the notes by Wolfgang Rehm commendably contextualize the performances, they occasionally miss the mark in describing the true brilliance of K. 503, which transcends mere technical display through its emotional depth.
This recording not only reaffirms Brendel’s status as a preeminent interpreter of Mozart but also offers a compelling journey through two of the composer’s most significant concertos. The insights gleaned from this performance make it essential listening for anyone seeking to understand the evolution of Mozart’s piano concertos. Brendel’s enduring artistry combined with Mackerras’s sensitive direction results in a recording that is both illuminating and deeply satisfying, ensuring its place among the finest interpretations of these beloved works.
