BaL 24.12.16/10.12.22 - Mozart: Piano Concerto no. 21 in C, K467

[Nick Armstrong]

There's a story about Geza Andas' recording of the 21st piano concerto. From the story I heard, Anda was horrified that his recording had been debased in such a crude way by being used as the soundtrack for a MOVIE! He contacted DG and, through his lawyer, expressed his displeasure and demanded that this blatant commercialisation cease immediately. He asked his lawyer if this could be grounds for cancelling his contract.

However, the record had entered the Top 20 in various countries around the world which resulted in Anda receiving a huge royalty cheque! His next contact with DG was to ask if his recordings of OTHER Mozart concerti could be considered!

Re Uchida/Tate, I don't want to rain on your parade, but I've always been puzzled by my own inability to appreciate the performances in that set. There seemed to be slight characteristics of each aspect - Uchida's way with the solo parts, the orchestral phrasing, and the sound/balance of the recordings - which felt 'wrong' to me. I took the set back years ago, but I recall feeling that soloist and accompaniment didn't 'match' - and that Uchida's style was too trim, clipped, miniaturised ("bonsai" Mozart) and not lyrical enough.

Each to his own, pg, each to his own...

[Alison]

Just revisiting the Ashkenazy recording, I can hear how this won a previous BaL.

Perhaps a little old fashioned for some, the performance keeps moving without mannerism or distraction.

It always sounded as if Uchida was trying too hard to me and that just doesn't work with Mozart.

[Barbirollians]

Just revisiting the Ashkenazy recording, I can hear how this won a previous BaL.

Perhaps a little old fashioned for some, the performance keeps moving without mannerism or distraction.

It always sounded as if Uchida was trying too hard to me and that just doesn't work with Mozart.

I was rather disappointed by the one recording I bought from her recent performances directing the Cleveland Orchestra from the piano.

As for fortepiano sets - I tried a couple of the Bilson/Gardiner recordings though not K467 and I thought they were prosaic .

[BBMmk2]

I think I might have a re-appraisal of my opinion about Mozart.

[ferneyhoughgeliebte]

I think I might have a re-appraisal of my opinion about Mozart.

I think the sound of the thud as I hit the floor could be used in Mahler #6!!!

[BBMmk2]

I think the sound of the thud as I hit the floor could be used in Mahler #6!!!

Indeed Ferney. If you remember I have made a transcription of the first movement for concert band

[ferneyhoughgeliebte]

If you remember I have made a transcription of the first movement for concert band

Now don't spoil the moment!

[Bryn]

Re Uchida/Tate, I don't want to rain on your parade, but I've always been puzzled by my own inability to appreciate the performances in that set. There seemed to be slight characteristics of each aspect - Uchida's way with the solo parts, the orchestral phrasing, and the sound/balance of the recordings - which felt 'wrong' to me. I took the set back years ago, but I recall feeling that soloist and accompaniment didn't 'match' - and that Uchida's style was too trim, clipped, miniaturised ("bonsai" Mozart) and not lyrical enough.

Each to his own, pg, each to his own...

It never rains but it pours. I am with you there on every point.

[BBMmk2]

It never rains but it pours. I am with you there on every point.

But her Beethoven PCs are something else with Kurt Masur conducting.

[Barbirollians]

But her Beethoven PCs are something else with Kurt Masur conducting.

Wrong Kurt BBM - Sanderling not Masur - agree a terrific set .

[BBMmk2]

Wrong Kurt BBM - Sanderling not Masur - agree a terrific set .

Yes, thank you Barbs. They sound really different from others I've heard.

[LeMartinPecheur]

I have 11 commercial recordings (all of them listed in #1) plus the BBC MM Curzon/BBCSO/Klee, so it ought to be a cheap Saturday But no promises

One slight mystery though. My trusty card index also tells me I have 9 x 20, 13 x 23, 14 x 24, 7 x 25, 10 x 27 but only 3 of 22. (And of 26, but that's more explicable.)

I think 22 is a really fine concerto, fully comparable to all the other properly finished late ones, and was amazed (horrified) to find so few versions of it on my shelves. Does it get fewer recordings for some reason? Or is it so well loved that people hang on to their discs so that they don't turn up in charity shops - my main source of random CD purchases - as often as the others?

[Alison]

I have 11 commercial recordings (all of them listed in #1) plus the BBC MM Curzon/BBCSO/Klee, so it ought to be a cheap Saturday But no promises

One slight mystery though. My trusty card index also tells me I have 9 x 20, 13 x 23, 14 x 24, 7 x 25, 10 x 27 but only 3 of 22. (And of 26, but that's more explicable.)

I think 22 is a really fine concerto, fully comparable to all the other properly finished late ones, and was amazed (horrified) to find so few versions of it on my shelves. Does it get fewer recordings for some reason? Or is it so well loved that people hang on to their discs so that they don't turn up in charity shops - my main source of random CD purchases - as often as the others?

Very good question. Perhaps we don't accord greatness to anything in E flat major.

[Petrushka]

I have 11 commercial recordings (all of them listed in #1) plus the BBC MM Curzon/BBCSO/Klee, so it ought to be a cheap Saturday But no promises

One slight mystery though. My trusty card index also tells me I have 9 x 20, 13 x 23, 14 x 24, 7 x 25, 10 x 27 but only 3 of 22. (And of 26, but that's more explicable.)

I think 22 is a really fine concerto, fully comparable to all the other properly finished late ones, and was amazed (horrified) to find so few versions of it on my shelves. Does it get fewer recordings for some reason? Or is it so well loved that people hang on to their discs so that they don't turn up in charity shops - my main source of random CD purchases - as often as the others?

Not sure of my exact numbers but your ratio of recordings of Mozart PC's pretty well mirrors my own. I've only got 2 of 22 (Brendel and Barenboim) and 3 of 26 (as before plus Curzon). I'm sorry to say I find No 26 interminable and was well miffed when Barenboim replaced 22 with 26 at his Prom last September.

[Nick Armstrong]

I'm sorry to say I find No 26 interminable and was well miffed when Barenboim replaced 22 with 26 at his Prom last September.

I didn't know that!