Customer Reviews

Mozart: Piano Concertos 9 & 18

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(2)

 

 

I don't know what to praise here first, so I'll begin with the music. #9 is, of course, one of Mozart's best-known concertos, but #18 is rarely played in the concert hall. I cannot understand why, as it is every bit as great as the concertos that surround it, with an eloquent slow movement and wonderfully rollicking finale. I'm not familiar with the Norwegian Chamber Orchestra, but they are clearly one of the worl's finest ensembles, playing with extraordinary precision and zest. The recorded sound is exemplary, the balance between piano and orchestra perfect. As for Andsnes, his playing is wonderfully alert at every moment, full of brio in the lively moments and lyricism where called for (particularly in the slow movement of 18, played, to very good effect, somewhat faster than usual. I compared this recording of 18 to Perahia's with the ECO and found that Perahia played splendidly as ever, but he's much too closely recorded and the English Chamber Orchestra sounds diffuse and, frankly, clumsy. In every way, this release strikes me as exemplary. Anyone who purchases this disc is guaranteed an hour of pure pleasure.

Though Leif Ove Andsnes has been on concert stages for some time now, he is finally reaching that estimable stature of one the now and future greats. This eloquent CD of two superb Mozart concerti (Nos. 9 and 18) will certainly contribute to his place in the ranks of fine pianists. Not only does he play with a refined sense of architecture and with utmost clarity, he is not afraid to let the singing, aria-like movements show his heart.

One other factor that makes this recital so worth owning is Andsnes' conducting the Norwegian Chamber Orchestra from the keyboard. The result is a marriage of thought and performance that makes these readings among the best available. The orchestra is utterly responsive to his interpretation and though the group is not a 'period orchestra', the sound Andsnes coaxes from them must be very close to the sound Mozart heard as he conducted them in 1777 and 1784 - less vibrato, playing a 'straight line' sound that simulates period instruments without sacrificing the warmth of modern orchestral timber. Highly recommended. Grady Harp, August 05

Having just enjoyed Leif Ove Andsnes' dramatically effective playing on his recording of Schubert's "Winterreise" with tenor Ian Bostridge, I wanted to see if I could enjoy his work without the accompaniment of a voice. With this recording, I can more fully appreciate the virtuoso trills and runs and overall warmth he brings to these two Mozart concertos. The two pieces make an interesting contrast: the Ninth seems darker with an almost epic feel, while Concerto #18 is far livelier and more expressive. In particular, the middle Andantino section of the Ninth has a haunting quality, almost like a dirge, where Andsnes plays with such mournful feeling that he replaces what would have surely been a moaning voice. However, both concertos still contain a generous number of Mozart's trademark credenzas, which provide a familiar sparkle to the overall performance. The brief CD booklet lends some interesting insight into the origins of the pieces, as Mozart apparently wrote each for two different female musicians to play. The emotional, almost airy freedom and harmonic colorations expressed in #18 seems to attest to this apocryphal fact, as a blind and prodigiously pianist named Maria Theresia Paradis is said to have introduced it in Paris in 1784.

The superb Norwegian Chamber Orchestra creates a strong and fulsome sound on both concertos, melding horns, woodwinds and strings to great effect. Andsnes responds by performing with great precision and stays true to the composer's familiar musical style with a genuine period flavor. I doubt if purists would be disappointed. The recording also captures the ideal tonal balance between Andsnes and the other musicians so that neither is overwhelmed by the other, a true ensemble. In fact, the aural qualities are so perfect that there are times when I was hoping for a little more adventurousness in approach, something that would challenge our perceptions of Mozart's music. To some degree, what the disc lacks is a truly individual mark that would make it transcendent, but give Andsnes some time to hone his obviously tremendous talent into something truly memorable. As it stands though, it's a very well planned and impeccably performed recording and not to slight it, but it makes the perfect background music for a Sunday brunch.

Another recording of Mozart Piano Concertos? This is what I was thinking as I was getting ready to listen to this Leif Ove Andsnes CD which I was able to borrow from my library to "audition".

I've really enjoyed his performances in the past and have many of his wonderful recordings, but still I was wondering if it would be something worthwhile with so many other wonderful recordings of the Mozart Concertos that were already out there.

It was VERY worthwhile!

What I love about this recording is that it has the intimacy that you find on many "period" instrument recordings. At the same time Leif Ove utilizes the beauty of the modern instrument and making no apologies for it's particular expressive qualities and dynamic range. Leif Ove really does some remarkable magic with dynamics on this, for example, trills that fade into the ether.

I thoroughly enjoy and have many period instrument recordings, but I must admit that overall, as a pianist and piano teacher myself (though admittedly no where near at the level of Andsnes) I tend to still favor the modern instrument.

Though Period instrument purists will certainly disagree with me, in my opinion, many early pianos sound like an "instrument still in it's infancy" though with charm no doubt, whereas string instruments were already much more along in terms of their development at the time of Mozart and beyond. Who really knows, given the choice, what Mozart would have thought about our modern instrument. Clearly Beethoven was always pushing the limits of his piano and from all I know, embraced innovations that came in his lifetime.

Getting back to the recording at hand :)

Andsnes plays these concertos with emotion and beautiful dynamics and ornamentation. The orchestra and he really interact as one and it's as if there is an intimate conversation going on that we are able to listen to.

I can see why he felt compelled to record these concertos because obviously he had his own musical message to add to the many recordings out there and I for one look forward to hearing him do more Mozart Concertos.

One last thing I wanted to say about Andsnes. He is a pianist with amazing technique but one who I never think of as a technical pianist as his technique is always in service of his musical message.

Highly recommended!

Another outstanding recording from this superb pianist. Andsnes appears to be comfortable within a remarkable range of the piano repertoire. I own his Grieg/Schumann concerto recording which is also outstanding and full of appropriate romantic fire. Here, his playing is characterized appropriately by restraint and precision. This is actually a double performance as Andsnes directed the Norwegian Chamber Orchestra, which performs superbly as well.

Yes, I understand that it is not advised that references to other reviews are made, but I feel I must. The reviewer who wrote that review also gave the SAME EXACT REVIEW WORD FOR WORD on more than 5 other Leif Ove Andsnes. This is spam and I personally hate it when this happens because the artists don't recieve a fair rating.

Anyways, for my review, I must say that Andsnes is definately on his path to stardom, and he truly deserves it. His tone is very rich and smooth while his technique is great. For a good interpetations of the 9th concerto and the lesser known 18th this is definately a great disc to have.

This rendition of an unusual mix of piano concertos (the 18th much less known than famous 9th) by an interpreter and orchestra not everybody may know is a hidden gem. From the recording quality (excellent) to the liner notes and the artwork, not a single detail isn't sophisticated and top knotch.

My favourite movement is the first Andante *(track 2). "Sad beauty" is the first association that comes to my mind. You may "feel Mozart" after having heard it.

Probably the strongest/ most "romantic" bars/ part is in the 2nd Andante, about one minute after 4:40. Listen to it and you'll see.

The first Allegro has a "royal feeling", while the Rondeau may be a bit too fast.

I agree with everything (Murray, KY USA) writes here on Amazon of course.

Whoever listens to this CD will hear what another Amazon (CPTScott) reviewer puts so well: "there is an intimate conversation going on that we are able to listen to".

The CD arrived sooner than I had been told it would. It plays beautifully and is just what I needed to help a piano student learn one of the concertos on it.

Thank you.

It was after a car trip when I heard the finale of this recording's Concerto #18, K.456. The pianist, unknown until the end of the broadcast, demonstrated such a fine balance between a comforting legato and a punchy staccato, and the small orchestra's woodwinds were so wonderfully vibrant and clear, that I eagerly sought this disk. This concerto, one of my favorites, doesn't get as much circulation as the "20s," yet, has so much to offer. Andsnes's touch seems ideal (this is the first recording of his Mozart I've heard). In a few spots he performs along in the tutti sections (correct historically), usually when the added piano color seems sensible, as in the sudden and eerie Eb-F in the opening tutti. Andsnes is obviously delighted with the finale, and in particular, the rousing orchestral response to the opening piano theme. The Concerto #9, K. 271, is, of course, one of Mozart's greatest masterpieces, and Andsnes's performance, while understated, was full of brilliant surprises and insights. The Andantino in this concerto was played with a beautifully and poignantly. A highly recommended recording.

While I don't see this pianist playing with a cowboy hat (as another reviewer jokes), he, together with the Orchestra, produce something that does not remind the listener of Mozart. Though this may be the intended result, buyers should be warned that this modernist interpretation is a matter of taste. Don't buy without listening first.