BaL 27.03.21 - Mozart: Piano Concerto no. 24 in C minor K.491

[gurnemanz]

There's still much to be gained by listening, even though AMcG's unnecessary and distracting interruptions fail to grow on me, and others.

Agreed. Nearly always some new insights and the post-BaL discussion on here can also be quite invigorating.

[Edgy 2]

There's still much to be gained by listening, even though AMcG's unnecessary and distracting interruptions fail to grow on me, and others.

Agreed. Nearly always some new insights and the post-BaL discussion on here can also be quite invigorating.

I hear what you say and I do enjoy the aftermath of BaLs on here.
I guess I'm just hankering after the old Radio 3.

[BBMmk2]

I see it’s Hannah French today.

[Ein Heldenleben]

I see it’s Hannah French today.

She’s doing a good job as is her very knowledgeable interviewee

[Petrushka]

Agreed Pet, although I too will be giving the BaL a miss as I always do nowadays.
Like most of Radio 3's output it's lost it's appeal for me

Yes, but BBM's aversion to Mozart is well known enough to realise why he'll be giving it a miss! Even with an aversion to Mozart it's difficult to see how anyone could resist the PC 24.

[Darloboy]

Last covered by BaL on 13 May 89 when Sir Nick did the honours. I’m afraid I don’t know which recording(s) he recommended.

[jayne lee wilson]

Gotta Brautigam/Willens - Sofronitsky/Karolak comparison running here in 24........ ve-ry interesting.....but will anyone win?

BTW Etcetera boxset (Sofronitsky) reviewed Gramophone, 9/2011....Jed Distler, very detailed about very mixed critical feelings........

[silvestrione]

Gotta Brautigam/Willens - Sofronitsky/Karolak comparison running here in 24........ ve-ry interesting.....but will anyone win?

BTW Etcetera boxset (Sofronitsky) reviewed Gramophone, 9/2011....Jed Distler, very detailed about very mixed critical feelings........

I am eagerly awaiting developments! Meanwhile, I have listened to the Sofronitsky, but did not get on with it at all really. No real balance between the woodwinds, an oboe dominated texture, no real Mozartian grace (e.g. in the lovely woodwind episodes in the slow movement and, especially, the finale, where, surely, they should take your breath away, not just be a humdrum continuation?). The great development section in the first movement was muddied and undramatic, not the sense of many parts in interplay that suddenly, by some force of gravity it seems, in the Annie Fischer descends into the tragic...I was looking forward to hearing a fortepianist in the slow movement decorating the lines, and there was some of that. But no cadenza before the coda in the last movement, and the introduction of that new version of the theme, so full of Mozartian pathos, here, once again, to me, felt rather perfunctory.

I must try the Brautigam.

[LMcD]

K491 is my favourite concerto by Mozart and indeed by any composer for any instrument! I once saw 'Mr Preview' play it at the RFH, directing with his back to the main body of the auditorium. I wonder whether that was to enable him better to direct the orchestra. I currently have CDs featuring Brendel and Zimmermann, plus (on my TV hard drive) Perahia at the 2013 Proms.

[verismissimo]

When I was very young, I really didn't like Mozart. To me, it all seemed too GENTEEL.

Gradually (over a period of several years) my view changed, as I realised that the gentility sprang from performers, not the composer. The first to break the mould for me was the young Colin Davis in the early 1960s.

I've been listening in the past two or three days to several K491 performances I have on CD - and the old divide has been most evident in Solomon/Menges (genteel) and Viviana Sofronitsky/Karolak (anything but).

[rauschwerk]

...Solomon/Menges (genteel)...

Yes, I wish I liked Solomon's Mozart concerto recordings more, for he was such a great artist (though I have heard it said that he wasn't always at his best in the studio). His choice of those thunderous Saint-Saens cadenzas in K 491 is a mystery to me. Richard Goode is my choice from performances on modern instruments.

[CallMePaul]

Tan/Norrington is my favourite version of this concerto and I'm surprised to see that it is now download only. Melvyn Tan now seems to have stopped playing the fortepiano in favour of the modern concert grand, which is a great pity. I grew up with Barenboim but now find this too romantic for my taste. I have not heard Buchbinder in this piece but judging by his Beethoven performances I think he would be very much to my liking.

[Barbirollians]

Kempff/Leitner and Solomon/Menges for me too - though the Brendel/Mackerras another favourite along with Haskil I think with Markevitch.

[cloughie]

Curzon/Kertesz

[verismissimo]

When I was very young, I really didn't like Mozart. To me, it all seemed too GENTEEL.

Gradually (over a period of several years) my view changed, as I realised that the gentility sprang from performers, not the composer. The first to break the mould for me was the young Colin Davis in the early 1960s.

I've been listening in the past two or three days to several K491 performances I have on CD - and the old divide has been most evident in Solomon/Menges (genteel) and Viviana Sofronitsky/Karolak (anything but).

Just re-listened to Ingrid Haebler with LSO/Colin Davis from 1964. Excellent, with no hint of the genteel!