Mozart PC No 27

[MickyD]

I already have all the Malcolm Bilson and Robert Levin recordings, but am very much tempted by the newer Brautigam cycle mentioned by Bryn.

I have Brautigam's solo piano Mozart, Haydn and Beethoven sets and they are sheer delight. The BIS recordings are superb, too.

[french frank]

I enjoyed those Barenboim/ECO discs when they came out, though he could underline things a bit too much, and a critic, I remember, talked about him flourishing the 'perfumed handkerchief' at times.

A regular Penguin Guide criticism of Mozart performances used to be "Dresden china".

[richardfinegold]

Good question Edgy!

The answer is I don’t really know.

However, I’m disappointed no-one has commented on the four copies I hold – can they really be that bad, I mean Schnabel & Barbirolli, Serkin & Toscanini, and Barenboim (great as he was before he became [like Schiff], oh, so self-important)? Funnily enough, the Han/Freeman I have, I like for its honesty, its unpretentiousness and a good example of a classical orchestra playing quite admirably drawing attention to the music, never to itself.

Mario

I was listening to Serkin in this piece yesterday, but not from 1936, a later stereo version. It was coupled with a scintillating K.491. Both were superb. Serkin retains just an edge of tension in his playing. Some Pianists seem to go excessively light in I, because it is a genial work, and it trivializes the Music.

[LMcD]

I was listening to Serkin in this piece yesterday, but not from 1936, a later stereo version. It was coupled with a scintillating K.491. Both were superb. Serkin retains just an edge of tension in his playing. Some Pianists seem to go excessively light in I, because it is a genial work, and it trivializes the Music.

I wonder how Serkin Junior's Mozart compares with his father's.

[Dave2002]

Searching for “mozart curzon piano concertos serkin szell” throws up a whole bunch of recordings from bygone eras.

[LMcD]

Searching for “mozart curzon piano concertos serkin szell” throws up a whole bunch of recordings from bygone eras.

Peter Serkin's recordings of Nos. 10 and 14-19 were with the ECO conducted by Alexander Schneider, released in 1973.

[Dave2002]

Peter Serkin's recordings were with the ECO conducted by Alexander Schneider.

Indeed, but Rudolf made several different recordings of Mozart’s PCs, with different conductors, as did Clifford Curzon.

[LMcD]

Peter Serkin's recording of Nos. 14-19 was marketed with the USP that it featured 6 concertos all composed in 1784.

[Tony Halstead]

Peter Serkin's recording of Nos. 14-19 was marketed with the USP that it featured 6 concertos all composed in 1784.

indeed; the marketing was absolutely truthful.
I am still awestruck by the fact that Mozart wrote these 6 concertos all in the same year.
I played horn on all those recordings in 1973 ( but I have no memory of #10 being recorded in those sessions).

Peter Serkin was, as I recall, totally superb and inspiring to 'accompany', speaking as an orchestral player.

'Sasha' Schneider was, unfortunately, less inspiring in a practical sense, but somehow got results despite his frankly rudimentary conducting technique. What was amusing was that the 'legendary' record producer, Max Wilcox, needed to ask Mr Schneider several times not to 'sniff' so loudly on his upbeats (just like George Szell!).

The ECO in those days operated a 'co-ordinated principal' system, but on these particular sessions, their woodwind principals comprised the superb line-up of Richard Adeney, flute, Neil Black, oboe, and Martin Gatt, bassoon.

After these inspirational sessions I very much regretted that we didn't continue the project; it would have been wonderful to hear what Peter Serkin would have done with e.g. KK 466, 467, 482, 488, 491, 503 etc.

[Bryn]

Tony, I appreciate that these 1973 recordings were made using 'modern' instruments, including the piano, but would you know whether this was before or after Peter Serkin developed his interest in historical instruments and their playing properties? I have a feeling he may already have taken up that (non-exclusive) interest by that time. I must search these recordings out. Good to find that Nos. 14 to 19 are available for streaming as CD rate on QOBUZ.

I see the father and son recording of k. 365 dates for 1962.

[LMcD]

indeed; the marketing was absolutely truthful.
I am still awestruck by the fact that Mozart wrote these 6 concertos all in the same year.
I played horn on all those recordings in 1973 ( but I have no memory of #10 being recorded in those sessions).

Peter Serkin was, as I recall, totally superb and inspiring to 'accompany', speaking as an orchestral player.

'Sasha' Schneider was, unfortunately, less inspiring in a practical sense, but somehow got results despite his frankly rudimentary conducting technique. What was amusing was that the 'legendary' record producer, Max Wilcox, needed to ask Mr Schneider several times not to 'sniff' so loudly on his upbeats (just like George Szell!).

The ECO in those days operated a 'co-ordinated principal' system, but on these particular sessions, their woodwind principals comprised the superb line-up of Richard Adeney, flute, Neil Black, oboe, and Martin Gatt, bassoon.

After these inspirational sessions I very much regretted that we didn't continue the project; it would have been wonderful to hear what Peter Serkin would have done with e.g. KK 466, 467, 482, 488, 491, 503 etc.

That's a fascinating and most informative reply, for which my grateful thanks.
In the same period in which he composed these concertos, Mozart found time to knock out, amongst others, wonderful pieces for 2 pianists (K448) and quintet (K452).

[Dave2002]

Oh dear! Looks like you’ve just encouraged me to buy more CD sets!

Thank you.

[LMcD]

Oh dear! Looks like you’ve just encouraged me to buy more CD sets!

Thank you.

I'm not sure how many people you're blaming but - hey - its a risk that all Forumistas have to face regularly. If I'm among those responsible, can I just say 'it's a pleasure to have been of assistance'

[Barbirollians]

indeed; the marketing was absolutely truthful.
I am still awestruck by the fact that Mozart wrote these 6 concertos all in the same year.
I played horn on all those recordings in 1973 ( but I have no memory of #10 being recorded in those sessions).

Peter Serkin was, as I recall, totally superb and inspiring to 'accompany', speaking as an orchestral player.

'Sasha' Schneider was, unfortunately, less inspiring in a practical sense, but somehow got results despite his frankly rudimentary conducting technique. What was amusing was that the 'legendary' record producer, Max Wilcox, needed to ask Mr Schneider several times not to 'sniff' so loudly on his upbeats (just like George Szell!).

The ECO in those days operated a 'co-ordinated principal' system, but on these particular sessions, their woodwind principals comprised the superb line-up of Richard Adeney, flute, Neil Black, oboe, and Martin Gatt, bassoon.

After these inspirational sessions I very much regretted that we didn't continue the project; it would have been wonderful to hear what Peter Serkin would have done with e.g. KK 466, 467, 482, 488, 491, 503 etc.

It is a surprise to me that Howard Shelley's Mozart piano concerto series with the LMP on Chandos was never completed. An immensely rewarding set of recordings and a very special record of No 9 K271 in particular.

[Tony Halstead]

Tony, I appreciate that these 1973 recordings were made using 'modern' instruments, including the piano, but would you know whether this was before or after Peter Serkin developed his interest in historical instruments and their playing properties? I have a feeling he may already have taken up that (non-exclusive) interest by that time. I must search these recordings out. Good to find that Nos. 14 to 19 are available for streaming as CD rate on QOBUZ.

I see the father and son recording of k. 365 dates for 1962.

That's a good question, Bryn.
Somewhere, I know I have an LP of P.S. playing Schubert on a period piano (maybe a Graf) but I need to find it to see if it was made earlier than those Mozart/ ECO recordings.