The Viviana Sofronitsky C Minor concerto (Qobuz lossless) is a surprisingly warm and Romantic-Expressive approach, HIPPs for the HIPPs-phobic perhaps (though the orchestra/strings/piano sound, tuning and character varies throughout this extensive ETCETERA set; no notes on Q., so I can't specify the intrumentarium).
Mozart 24 does get a good performance from Viviana Sofronitsky here, the Varsovia band warm-toned and immediately appealing, the piano well-defined and alert with good orchestral clarity. All the same, a touch of blandness registers as the first movement proceeds; I would have liked more urgently-shaped direction from the conductor Karolak here, and there is not much dynamic subtlety.
Taking the comparison to Brautigam/Willens (Qobuz 24/44.1 or SACD) soon reveals the latter as more briskly and precisely classical, with more distinctive instrumental and orchestral period-characters and textures. The dynamics are livelier in the exposition, the violins fierier in the tutti.
Greater instrumental detail around the better defined fortepiano sound, and higher orchestral resolution and textural refinement (Excellent BIS sound - A1***). A stormier, more keenly defined coda to (i) on the BIS. Brautigam/Willens share the same vision of the piece, their partnership very close.
The differences hold true of the whole performance; Brautigam/Willens livelier, more sensitive and subtler in the andante, if a little too brisk for some. ( Sofronitsky more espressivo-adagio here, but The Varsovia band a touch routine again, winds a bit too forward here, occasionally obscuring piano detail.)
In the finale, one notes that Sofronitsky can seem somewhat anonymous through passagework, which Brautigam never does: his every phrase counts (as with most of his cycle). Willens is more sensitive to detail of phrase and micro dynamics in his Kölner orchestra, to really expressive effect, keeping the music alive moment-to-moment without any exaggeration or over-emphasis.
So I prefer Brautigam in this work, from a cycle that has become (among several modern and HIPPs recordings) my reference: it is remarkably consistent in its interpretive freshness and interest; almost faultless sound. (Letting No.25 play on after the C Minor only reignites my enthusiasm! Stunning recording again, in every way.)
Your own such leanings will be as usual according to taste, both orchestral and pianistic; perhaps preferring Sofronitsky/Karolak if you usually usually prefer a modern-instrumental or more overtly expressive approach.
All there on Qobuz to listen for yourself.
Mozart 24 does get a good performance from Viviana Sofronitsky here, the Varsovia band warm-toned and immediately appealing, the piano well-defined and alert with good orchestral clarity. All the same, a touch of blandness registers as the first movement proceeds; I would have liked more urgently-shaped direction from the conductor Karolak here, and there is not much dynamic subtlety.
Taking the comparison to Brautigam/Willens (Qobuz 24/44.1 or SACD) soon reveals the latter as more briskly and precisely classical, with more distinctive instrumental and orchestral period-characters and textures. The dynamics are livelier in the exposition, the violins fierier in the tutti.
Greater instrumental detail around the better defined fortepiano sound, and higher orchestral resolution and textural refinement (Excellent BIS sound - A1***). A stormier, more keenly defined coda to (i) on the BIS. Brautigam/Willens share the same vision of the piece, their partnership very close.
The differences hold true of the whole performance; Brautigam/Willens livelier, more sensitive and subtler in the andante, if a little too brisk for some. ( Sofronitsky more espressivo-adagio here, but The Varsovia band a touch routine again, winds a bit too forward here, occasionally obscuring piano detail.)
In the finale, one notes that Sofronitsky can seem somewhat anonymous through passagework, which Brautigam never does: his every phrase counts (as with most of his cycle). Willens is more sensitive to detail of phrase and micro dynamics in his Kölner orchestra, to really expressive effect, keeping the music alive moment-to-moment without any exaggeration or over-emphasis.
So I prefer Brautigam in this work, from a cycle that has become (among several modern and HIPPs recordings) my reference: it is remarkably consistent in its interpretive freshness and interest; almost faultless sound. (Letting No.25 play on after the C Minor only reignites my enthusiasm! Stunning recording again, in every way.)
Your own such leanings will be as usual according to taste, both orchestral and pianistic; perhaps preferring Sofronitsky/Karolak if you usually usually prefer a modern-instrumental or more overtly expressive approach.
All there on Qobuz to listen for yourself.
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