Ronald Brautigam, with the congenial support of Die Kölner Akademie, under Michael Alexander Willens, here performs Mozart’s Piano Concertos Nos. 24 and 25, both composed in 1786. The C major concerto is in fact one of the most expansive of all classical piano concertos, rivalling Beethoven’s fifth concerto. Their grandeur immediately made them popular fare in the concert hall – Mendelssohn, for instance, had No.24 in his repertoire through the 1820s and 1830s.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either.
This three-disc set of all of the studio recordings of Mozart's piano concertos and sonatas made by German pianist Edwin Fischer between 1933-1947 may elicit different responses from his fans than from listeners not already persuaded of his greatness.
It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.