Mitsuko Uchida's Mozart Piano Concertos
Qingchun Guo
Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
Mozart piano concertos. If you have listened to some of the CDs (the CDs
are made by Philips), could you tell me what you think about them?
A music club is selling the complete set of the 9 CDs for $100 (US) plus
S&H. I am thinking of buying it but don't know whether it's worth it or
not. Your opinions are appreciated. Thanks.
Chris Kraatz
I find her playing of these concertos very sterile and wooden. I sold
the ones I had because I just could not bear to listen to them.
p-peters
Chris Kraatz schreef:
Bu then more often than not they are over-delicate and over-romantic. I can
hardly believe we heard the same music. Which goes to show..er...whatever it
goes to show I guess.
Philip Peters
Simon Roberts
p-peters (phi...@p-peters.demon.nl) wrote:
: Chris Kraatz schreef:
Well, yes; I would never call them sterile and wooden either; but
"over-delicate" seems right (not sure about "over-romantic;" I infer from
that a degree of drama lacking here). The playing as such is very
beautiful, with many subtle, delicate effects, much the same sort of
approach that Perahia takes in this music. I find it awfully
one-dimensional; the grand effects that the "big" concertos (20, 21, 22,
24 and 25 expecially) seem to demand are nowhere to be found, partly
because her dynamic range is so narrow -- from piano to mezzo-forte at
most. I also find Tate's accompaniments rather bland (at least Schiff's
comparably restrained playing is offset by Vegh's superb accompaniments).
It all depends on your taste in Mozart, of course; if you like what she,
Perahia and Schiff do in this music (including the piano sonatas), go for
it -- it's you who must listen to them, after all (I can't say whether
this is a good deal, though, because I can't remember what the price
usually is for the set if bought in a store). But for much less you can
get Barenboim/ECO/EMI who, on the whole, reveals more of the possibilities
of the music and does a splendid job of conducting from the keyboard; and
for not much more you can get my favorite integral set (apparently a
controversial choice around here), Brendel/Marriner/Philips. (There are
all manner of superior performances of individual concertos on individual
discs too, of course .... not to mention the whole HIP vs modern
business.)
Simon
Lawrence Eckerling
Qingchun Guo wrote:
>
> Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
> Mozart piano concertos. If you have listened to some of the CDs (the CDs
> are made by Philips), could you tell me what you think about them?
>
> A music club is selling the complete set of the 9 CDs for $100 (US) plus
> S&H. I am thinking of buying it but don't know whether it's worth it or
> not. Your opinions are appreciated. Thanks.
I find these performances and this pianist in general to be astoundingly
brilliant, both technically, and in musical insight. Contrary to what
others have said in this thread, her clarity is unparalleled, and her
sound is absolutely phenominal. If you own this set, you need no
others. They are amazing.
Lawrence Eckerling
Roger Lopez
>Qingchun Guo wrote:
>>
>> Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
>> Mozart piano concertos. If you have listened to some of the CDs (the CDs
>> are made by Philips), could you tell me what you think about them?
>>
>I find these performances and this pianist in general to be astoundingly
>brilliant, both technically, and in musical insight. Contrary to what
>others have said in this thread, her clarity is unparalleled, and her
>sound is absolutely phenominal. If you own this set, you need no
>others. They are amazing.
>
I'd like to second this. They are played with great
sensitivity and delicacy. There are some rapturous moments--the slow
movement of the K. 488 just kills me. I also think Tate is a very
fine accompanist. I don't think Uchida is the final word in this
repertoire, but she's certainly among its best interpreters, and
better recorded than many of the other greats.
RL
p-peters
Lawrence Eckerling schreef:
> Qingchun Guo wrote:
> >
> > Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
> > Mozart piano concertos. If you have listened to some of the CDs (the CDs
> > are made by Philips), could you tell me what you think about them?
> >
> > A music club is selling the complete set of the 9 CDs for $100 (US) plus
> > S&H. I am thinking of buying it but don't know whether it's worth it or
> > not. Your opinions are appreciated. Thanks.
>
> I find these performances and this pianist in general to be astoundingly
> brilliant, both technically, and in musical insight. Contrary to what
> others have said in this thread, her clarity is unparalleled, and her
> sound is absolutely phenominal. If you own this set, you need no
> others. They are amazing.
>
> Lawrence Eckerling
You *always* need others IMHO.
Philip Peters
Rachel Chen
> Well, yes; I would never call them sterile and wooden either; but
> "over-delicate" seems right (not sure about "over-romantic;" I infer from
> that a degree of drama lacking here). The playing as such is very
> beautiful, with many subtle, delicate effects, much the same sort of
> approach that Perahia takes in this music. I find it awfully
> one-dimensional
I agree.
I also don't like the way Uchida wipes the keyboard with her hair while
she's playing. Or the silly faces she pulls.
--
Rachel
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The cerebral Brooke shields once said:"Smoking
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ferns
Dan Koren wrote:
> Listen to Horowitz playing the slow movement of KV488 - it will
> recalibrate both your taste and your hearing. Uchida sounds like
> a first grade bored student by comparison.
>
It's interesting that she can sound boring at one listening and then
sound marvellously delicate at the next. Rather like Abbado's Mahler 7,
she is understated.
I agree with one poster's assessment of K488 slow movement; she shows a
fine instinct for exactly what to play here (minimalistic to a gorgeous
degree). If only her K491 slow movement was a bit more like this, but
there she seems intent on connecting the sections of the piece with
sentimental claptrap you wish wasn't there, when she plays the rest of
the movement divinely (eg the closing Neapolitans). Which is a bit
symptomatic of her attitude to cadenzas, really. In general though
(based on 15,16,22,23,24 & 25) worth it for the lack of mannerism.
I myself like Rudolf Serkin, Abbado & the LSO. But noone else seems to.
Dan Koren
In article <01bd36bc$5dc0a620$1ba615a5@kctbjuqk> "Rachel Chen" <rach...@singnet.com.sg> writes:
>
>> Well, yes; I would never call them sterile and wooden either; but
>> "over-delicate" seems right (not sure about "over-romantic;" I infer from
>> that a degree of drama lacking here). The playing as such is very
>> beautiful, with many subtle, delicate effects, much the same sort of
>> approach that Perahia takes in this music. I find it awfully
>> one-dimensional
>
>I agree.
>I also don't like the way Uchida wipes the keyboard with her hair while
>she's playing. Or the silly faces she pulls.
Uchida is the heir apparent to the Clara Haskil and Geza Anda school
of Mozart playing - prettyfying the music and tiptoeing their way
around the score as if they were fragile crystal they're afraid of
breaking.
I recommend taking Schnabel, Richter, Horowitz, Bashkirov or
Sofronitsky as antidotes.
:-)
dk
Dan Koren
In article <Pine.GSO.3.95.98020...@gatekeeper.4cs.com> Qingchun Guo <g...@gatekeeper.4cs.com> writes:
>
>Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
>Mozart piano concertos. If you have listened to some of the CDs (the CDs
>are made by Philips), could you tell me what you think about them?
>
>A music club is selling the complete set of the 9 CDs for $100 (US) plus
>S&H. I am thinking of buying it but don't know whether it's worth it or
>not. Your opinions are appreciated. Thanks.
Definitely not worth $100. You can get Ingrid Haebler or Geza Anda for
about half the price, and they are better performances.
dk
Dan Koren
In article <34df6f32...@news.mnsi.net> cco...@mnsi.net (Chris Kraatz) writes:
>On Mon, 9 Feb 1998 10:11:21 -0600, Qingchun Guo
><g...@gatekeeper.4cs.com> wrote:
>
>>
>>Mozart piano concertos. If you have listened to some of the CDs (the CDs
>>are made by Philips), could you tell me what you think about them?
>>
>>A music club is selling the complete set of the 9 CDs for $100 (US) plus
>>S&H. I am thinking of buying it but don't know whether it's worth it or
>>not. Your opinions are appreciated. Thanks.
>>
>>
>the ones I had because I just could not bear to listen to them.
Mitsuko Uchida is another great product of the Polygram PR machine. I
find her Mozart square and boring beyond endurance. Listen however to
her Chopin Sonatas or Schumann Kreisleriana for unqualified commplete
disasters that would have done even Glenn Gould proud...
Having bought her Mozart Concerti and Sonatas on the strength of the
Fanfare reviews, they made me cancel my Fanfare subscription as a
result (also partly because of the review thay gave Pletnev for
his Liszt Sonata).
dk
Dan Koren
In article <6bo54h$cj0$1...@netnews.upenn.edu> si...@dept.english.upenn.edu (Simon Roberts) writes:
>usually is for the set if bought in a store). But for much less you can
>get Barenboim/ECO/EMI who, on the whole, reveals more of the possibilities
>of the music and does a splendid job of conducting from the keyboard;
How do you tell? :-)
>and for not much more you can get my favorite integral set (apparently a
>controversial choice around here), Brendel/Marriner/Philips. (There are
>all manner of superior performances of individual concertos on individual
>discs too, of course .... not to mention the whole HIP vs modern
>business.)
Much as I don't like Brendel, I would concur with Simon that the
Brendull/Marriner/ASMIF/Philips set is probably the most solid of
the complete Mozart sets on the market. And for those who like
their Mozart sweet and pretty, Anda and Haebler are available at
bargain prices. On the HIP side, Bilson/Gardiner is good enough
to be almost enjoyable even by black piano chauvinists (he should
be merely shot rather than skinned alive or burned at the stake! :-)) ).
Unfortunately, none of the complete sets include even a single
performance that comes close to being a great one. Ashkenazy
comes closest in #17 ans #24 but is so perfunctory everywhere
else. So my best recommendation would be to use either Brendull
or Anda to study the scores (depending on whether you like your
Mozart dark and serious or polished and sunny), and then start
listening to the truly great performances:
#9 KV271 Gilels, Richter
#10 KV365 Gilels/Gilels, Casadesus/Casadesus
#13 KV415 Michelangeli
#15 KV450 Michelangeli, Richter
#17 KV453 Bashkirov, Fischer, Richter, Casadesus
#20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
#21 KV467 Gilels, Lipatti, Casadesus
#22 KV482 Richter, Casadesus
#23 KV488 Horowitz, Rubinstein, Casadesus
#24 KV491 Bashkirov, Fischer, Richter, Casadesus
#25 KV503 Fischer, Richter, Casadesus
#26 KV537 Casadesus
#27 KV595 Gilels, Richter, Schnabel, Casadesus
BTW, Fischer means Edwin, not Annie.
Hope this helps.
dk
Dan Koren
In article <34e053e0...@nntp.fas.harvard.edu> rgl...@fas.harvard.edu (Roger Lopez) writes:
>On Tue, 10 Feb 1998 03:59:56 -0600, Lawrence Eckerling
><lec...@mcs.com> wrote:
>
>>>
>>> Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
>>> Mozart piano concertos. If you have listened to some of the CDs (the CDs
>>> are made by Philips), could you tell me what you think about them?
>>>
>>brilliant, both technically, and in musical insight. Contrary to what
>>others have said in this thread, her clarity is unparalleled, and her
>>sound is absolutely phenominal. If you own this set, you need no
>>others. They are amazing.
>>
>
>sensitivity and delicacy. There are some rapturous moments--the slow
>movement of the K. 488 just kills me. I also think Tate is a very
>fine accompanist. I don't think Uchida is the final word in this
>repertoire, but she's certainly among its best interpreters, and
>better recorded than many of the other greats.
Listen to Horowitz playing the slow movement of KV488 - it will
recalibrate both your taste and your hearing. Uchida sounds like
a first grade bored student by comparison.
:-)
dk
Dan Koren
In article <34E07B91...@p-peters.demon.nl> p-peters <phi...@p-peters.demon.nl> writes:
>
>
>Lawrence Eckerling schreef:
>
>> Qingchun Guo wrote:
>> >
>> > Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
>> > Mozart piano concertos. If you have listened to some of the CDs (the CDs
>> > are made by Philips), could you tell me what you think about them?
>> >
>> > S&H. I am thinking of buying it but don't know whether it's worth it or
>> > not. Your opinions are appreciated. Thanks.
>>
>> brilliant, both technically, and in musical insight. Contrary to what
>> others have said in this thread, her clarity is unparalleled, and her
>> sound is absolutely phenominal. If you own this set, you need no
>> others. They are amazing.
>>
>
> You *always* need others IMHO.
>
>Philip Peters
If you have Uchida you don't just need "others". You need "something else".
dk
PS. Uchida's Mozart is almost as bad as Maria-Joao Pires.
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
: In article <6bo54h$cj0$1...@netnews.upenn.edu> si...@dept.english.upenn.edu (Simon Roberts) writes:
: >usually is for the set if bought in a store). But for much less you can
: >get Barenboim/ECO/EMI who, on the whole, reveals more of the possibilities
: >of the music and does a splendid job of conducting from the keyboard;
: How do you tell? :-)
That was probably an amusing rhetorical flourish, but I think that if you
compare the orchestral contributions provided by the ECO for Barenboim,
Perahia and Uchida (though you may well ask, why bother?, given the
pianists), he gets the best orchestral support; and since he turned out
some pretty good performances with them as a conductor at the same time, I
would infer from that that it wasn't an accident, but probably because of
his conducting, that they do a better job for him. And while I can
understand that those who are mainly interested in piano playing find the
conducting of less interest, in this music as far as I'm concerned what
the orchestra does is almost as important (it's certainly the only reason
to have the Bilson/Gardiner set); for instance, wonderful though the live
Michelangeli performances I have (13, 15, 20, 23) are as instances of
piano playing, it's unfortunate that they are encumbered by accompaniments
that are no more than that.
Simon
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
: If you have Uchida you don't just need "others". You need "something else".
: dk
: PS. Uchida's Mozart is almost as bad as Maria-Joao Pires.
That's certainly true of her Erato recordings; I bought a box of 5 or 6
discs on sale in the Tower cut-out store for c. $12 thinking that they
were at least worth that for a listen. But they really aren't; so
stupifyingly tame (I wonder to what extent the awful conducting is to
blame?) -- at least based on the few movements I've sampled -- that I
can't bring myself to listen to any more. Uchida is far superior (as, I
expect, are Pires' remakes with Abbado).
Simon
C. N. Chew
Qingchun Guo <g...@gatekeeper.4cs.com> wrote:
>
>Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
>Mozart piano concertos. If you have listened to some of the CDs (the CDs
>are made by Philips), could you tell me what you think about them?
I have only sampled odd movements from it, but I suspect you could do
worse than choose this set. Uchida brings quite a bit of interpretative
sophistication to her performances, which are characterized by a sort of
delicate brilliance and nervous intensity. The trouble is, I've heard her
give much more uninhibited performances in the concert-hall and I think
the memory of those performances would spoil my pleasure in these
recordings.
The set that I have, BTW, is the Brendel on Philips. Not everyone likes
his brand of pianism but what he does offer, something which I think is
important to have if you are buying a single complete set, is a
connoisseur's sense of what is distinctive about each work and each
movement within the cycle. For this reason it has remained a valuable
reference point even though I have acquired many other recordings of
individual concertos.
Naun.
Mario Taboada
Simon Roberts:
<<...for instance, wonderful though the live
Michelangeli performances I have (13, 15, 20, 23) are as instances of
piano playing, it's unfortunate that they are encumbered by
accompaniments
that are no more than that.>>
If you are talking about the Michelangeli performances with Garben
issued by DG, I have to disagree. They show the pianist in his worst
shape on record. But then, the Schubert/Brahms disk he recorded for DG
around the same time is also pretty bad, so perhaps he was going
downhill. In any case, those Mozart recordings are unfortunate (they
should not have been released).
Regards,
Mario Taboada
Owen Hartnett
In article <dkEo8D...@netcom.com>, d...@netcom.com (Dan Koren) wrote:
>... and then start
>listening to the truly great performances:
>
>#9 KV271 Gilels, Richter
>#10 KV365 Gilels/Gilels, Casadesus/Casadesus
>#13 KV415 Michelangeli
>#15 KV450 Michelangeli, Richter
>#17 KV453 Bashkirov, Fischer, Richter, Casadesus
>#20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
>#21 KV467 Gilels, Lipatti, Casadesus
>#22 KV482 Richter, Casadesus
>#23 KV488 Horowitz, Rubinstein, Casadesus
>#24 KV491 Bashkirov, Fischer, Richter, Casadesus
>#25 KV503 Fischer, Richter, Casadesus
>#26 KV537 Casadesus
>#27 KV595 Gilels, Richter, Schnabel, Casadesus
I'll second Dan's nomination on Casadesus. His collaboration with Szell
released in the 70's is sublime.
-Owen
Simon Roberts
Mario Taboada (matr...@sprintmail.com) wrote:
: Simon Roberts:
No, I'm not talking about them (it's so long since I've heard them that I
can't say whether I agree with you or not) but about live recordings from
the 1950s (1951 - 13, 20, 23; 1955 - 15) with Giulini in all but 15, which
is conducted by Mario Rossi (I have these as part of a three disc
Frequenz box which also contains an excellent performance of the only
well-known Haydn concerto, Schumann's concerto, and a performance of Liszt
#1 that almost makes me think I could enjoy listening to it again). The
orchestras are various Italian Radio orchestras -- not awful, but nowhere
near good enough.
Simon
Dan Koren
In article <34E1FB...@sprintmail.com> Mario Taboada <matr...@sprintmail.com> writes:
>Simon Roberts:
>
><<...for instance, wonderful though the live
>Michelangeli performances I have (13, 15, 20, 23) are as instances of
>piano playing, it's unfortunate that they are encumbered by
>accompaniments
>that are no more than that.>>
>
>If you are talking about the Michelangeli performances with Garben
>issued by DG, I have to disagree. They show the pianist in his worst
>shape on record. But then, the Schubert/Brahms disk he recorded for DG
>around the same time is also pretty bad, so perhaps he was going
>downhill. In any case, those Mozart recordings are unfortunate (they
>should not have been released).
Of course not. The #13, #15 and #20 performances from the '50s and '60s
on the other hand are some of the finest - maybe even the finest ever.
dk
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
: #9 KV271 Gilels, Richter
: #10 KV365 Gilels/Gilels, Casadesus/Casadesus
: #13 KV415 Michelangeli
: #15 KV450 Michelangeli, Richter
: #17 KV453 Bashkirov, Fischer, Richter, Casadesus
: #20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
: #21 KV467 Gilels, Lipatti, Casadesus
: #22 KV482 Richter, Casadesus
: #23 KV488 Horowitz, Rubinstein, Casadesus
: #24 KV491 Bashkirov, Fischer, Richter, Casadesus
: #25 KV503 Fischer, Richter, Casadesus
: #26 KV537 Casadesus
: #27 KV595 Gilels, Richter, Schnabel, Casadesus
Two questions about your list. First, the only performer I don't know at
all is Bahkirov: Who s/he? What label? Second, is there a Gilels 595
other than the stolid DG/Boehm? I saw him perform it in London with a
reduced Philharmonia (neither he here nor his daughter (they did 365 as
well) made any pretense at conducting, leaving it to the concert master);
both concertos were much more animated than in the DG recording, which is
too slow for my taste.
Simon
Alan Cooper
mu...@netlink.co.uk (Neil Tingley) wrote:
>>#25 KV503 Fischer, Richter, Casadesus
>
>Bishop-K
Moravec (x2) outshines all of the above.
Alan Cooper
wapi...@imaginet.fr
Dan Koren a écrit:
> #9 KV271 Gilels, Richter
> #10 KV365 Gilels/Gilels, Casadesus/Casadesus
> #13 KV415 Michelangeli
> #15 KV450 Michelangeli, Richter
> #17 KV453 Bashkirov, Fischer, Richter, Casadesus
> #20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
> #21 KV467 Gilels, Lipatti, Casadesus
> #22 KV482 Richter, Casadesus
> #23 KV488 Horowitz, Rubinstein, Casadesus
> #24 KV491 Bashkirov, Fischer, Richter, Casadesus
> #25 KV503 Fischer, Richter, Casadesus
> #26 KV537 Casadesus
> #27 KV595 Gilels, Richter, Schnabel, Casadesus
May I add to this interesting list at least two more? Serkin/Szell in K. 466 (the Casadeus/Szell has
just been reissued, and is as fantastic), and Fleisher/Szell in K. 503. Anyway, I would take any
Mozart (or anyone else's) concerto conducted by Szell.
> BTW, Fischer means Edwin, not Annie.
Too bad, because Annie is great. One absence on this list, and in all the postings : what about
Christian Zacharias?
Piotr Kaminski
wapi...@imaginet.fr
Simon Roberts wrote:
> /.../ as, I
> expect, are Pires' remakes with Abbado).
Sorry, to my ears they're not...
PK
Don Drewecki
Mitsuko Uchida will play an all-Mozart chamber recital -- yes, two
Mozart piano trios -- at the Union College Memorial Chapel in
Schenectady, New York, on Tuesday, March 17th, at 8 PM. While I am
recording this concert for possible broadcast on NPR's Performance
Today, she and her cohorts for this occasion (whose names I don't recall
at the moment) have the right to deny permission to broadcast. So get
to The Chapel on time, and hear her in person in one of only two chamber
music appearances Uchida is giving in the United States this season.
More info: (518) 372-3651.
--
Don Drewecki
<dre...@rpi.edu>
Simon Roberts
Neil Tingley (mu...@netlink.co.uk) wrote:
: On Thu, 12 Feb 1998 00:49:05 GMT, d...@netcom.com (Dan Koren) wrote:
: >Of course not. The #13, #15 and #20 performances from the '50s and '60s
: >on the other hand are some of the finest - maybe even the finest ever.
: Are these the studio ones or live - I have about 4 live ABM mozart recordings
The ones I referred to in an earlier post are all live.
Simon
Simon Roberts
wapi...@imaginet.fr wrote:
: One absence on this list, and in all the postings : what about
: Christian Zacharias?
One reason perhaps for his absence -- at least from American posters -- is
that not all of his discs are imported into the U.S., certainly not all of
his Mozart concerti. I rather like what little I've heard of his Mozart
(and I definitely like his Scarlatti, Schubert and Beethoven); but I must
say I could do without his cutesy cadenzas -- the Don Giovanni nonsense in
the finale of 20 (the opening chord of the overture, played by an
orchestra, reproduced mono, blasts its way into the cadenza there), the
music box or whatever it is in 26 (I think; it's been a while); and I
would prefer different conductors some of the time. I may never see the
complete set (at least, not at an affordable price), so this is perhaps an
irrelevant question, but does he fool around with the cadenzas in other
concertos?
Simon
wapi...@imaginet.fr
Simon Roberts a wrote:
> One reason perhaps for his absence -- at least from American posters -- is
> that not all of his discs are imported into the U.S., certainly not all of
> his Mozart concerti. I rather like what little I've heard of his Mozart
> (and I definitely like his Scarlatti, Schubert and Beethoven);
I'll say something awful, probably forbidden, maybe I'll get damned for it : I
like his Scarlatti better than Horowitz' (which I love, nevertheless).
> but I must
> say I could do without his cutesy cadenzas -- the Don Giovanni nonsense in
> the finale of 20 (the opening chord of the overture, played by an
> orchestra, reproduced mono, blasts its way into the cadenza there), the
> music box or whatever it is in 26 (I think; it's been a while); and I
> would prefer different conductors some of the time. I may never see the
> complete set (at least, not at an affordable price), so this is perhaps an
> irrelevant question, but does he fool around with the cadenzas in other
> concertos?
It's the 'conceptual' side of his rich personality - I must say, I'd rather
take too much of it than not enough (follow my eyes, as they say in French : I
definitely mean Mlle Uchida). I enjoy it, and it makes sense musically. But
there are people who think it's like paintin a moustache on Mona Lisa. I
don't. And his playing is fantastic, rich, profound - a great musician. As to
the conductors, they're... variable. His Concertos and Sonatas are available
in France for ridiculously low prizes (something like 30 dollars for the
complete concertos, I think).
Bye. Piotr Kaminski
Dan Koren
In article <34e30f11...@nntp.ix.netcom.com> amco...@ix.netcom.com (Alan Cooper) writes:
>
>Moravec (x2) outshines all of the above.
Now let's be serious. Moravec is a fine pianist, however
outshining Fischer, Richter or Casadesus in Mozart is an
entirely different business. AFAIK the only world class
performance Moravec has produced is the 196? recording
of the Beethoven 4th with Turnovsky conducting.
dk
Dan Koren
In article <34E34D2B...@imaginet.fr> wapi...@imaginet.fr writes:
>
>
>Dan Koren a écrit:
>
>> #9 KV271 Gilels, Richter
>> #10 KV365 Gilels/Gilels, Casadesus/Casadesus
>> #13 KV415 Michelangeli
>> #15 KV450 Michelangeli, Richter
>> #17 KV453 Bashkirov, Fischer, Richter, Casadesus
>> #20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
>> #21 KV467 Gilels, Lipatti, Casadesus
>> #22 KV482 Richter, Casadesus
>> #23 KV488 Horowitz, Rubinstein, Casadesus
>> #24 KV491 Bashkirov, Fischer, Richter, Casadesus
>> #27 KV595 Gilels, Richter, Schnabel, Casadesus
>
>May I add to this interesting list at least two more?
Only if you're prepared to be fined for bad recommendations :-)
>Serkin/Szell in K. 466
Such as this one.
>(the Casadeus/Szell has just been reissued, and is as fantastic),
>and Fleisher/Szell in K. 503.
Or this one.
>Anyway, I would take any Mozart (or anyone else's) concerto
>conducted by Szell.
Too bad, Mozart didn't write them for conductors.
>> BTW, Fischer means Edwin, not Annie.
>
>Too bad, because Annie is great.
Yeah, she smoked almost like Schnabel :-)
>One absence on this list, and in all the postings : what about
>Christian Zacharias?
Obviously he doesn't meet my minimum standards. I would however
consider Gulda.
dk
Dan Koren
In article <6btt69$7m1$1...@netnews.upenn.edu> si...@dept.english.upenn.edu (Simon Roberts) writes:
>Dan Koren (d...@netcom.com) wrote:
>
>: #9 KV271 Gilels, Richter
>: #10 KV365 Gilels/Gilels, Casadesus/Casadesus
>: #13 KV415 Michelangeli
>: #15 KV450 Michelangeli, Richter
>: #17 KV453 Bashkirov, Fischer, Richter, Casadesus
>: #20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
>: #21 KV467 Gilels, Lipatti, Casadesus
>: #22 KV482 Richter, Casadesus
>: #23 KV488 Horowitz, Rubinstein, Casadesus
>: #24 KV491 Bashkirov, Fischer, Richter, Casadesus
>: #25 KV503 Fischer, Richter, Casadesus
>: #26 KV537 Casadesus
>: #27 KV595 Gilels, Richter, Schnabel, Casadesus
>
>all is Bahkirov: Who s/he?
Dmitri Bashkirov, born 1930. Won 1st prize at the 1956 Marguerite
Long Jacques Thibaud Competition in Paris. Absolutely fabulous.
If I'm not mistaken he currently lives and teaches in Spain.
Neil Tingley has posted a review of a Bashkirov concert just a
few days ago.
>What label?
Melodiya. Also a handful of recordings reissued on Harmonia Mundi,
Chant du Monde, Artia and other labels which recycled Russian
recordings at various times.
>Second, is there a Gilels 595 other than the stolid DG/Boehm?
A couple of live performances. I don't have details handy.
>I saw him perform it in London with a reduced Philharmonia
>(neither he here nor his daughter (they did 365 as well) made any
>pretense at conducting, leaving it to the concert master); both
>concertos were much more animated than in the DG recording, which
>is too slow for my taste.
I find it neither slow nor fast - just right.
dk
Dan Koren
In article <34effbef....@reading.news.pipex.net> mu...@netlink.co.uk writes:
>On Wed, 11 Feb 1998 20:09:08 GMT, d...@netcom.com (Dan Koren) wrote:
>
>I agree with Dan for the perfs I've heard plus a few additions of my own
>
>>
>>#9 KV271 Gilels, Richter
>>#10 KV365 Gilels/Gilels, Casadesus/Casadesus
>>#13 KV415 Michelangeli
>>#15 KV450 Michelangeli, Richter
>
Hhmmm....
>>#17 KV453 Bashkirov, Fischer, Richter, Casadesus
>>#20 KV466 Michelangeli, Richter, Schnabel, Rubinstein
>>#21 KV467 Gilels, Lipatti, Casadesus
>>#22 KV482 Richter, Casadesus
>>#23 KV488 Horowitz, Rubinstein, Casadesus
>>#24 KV491 Bashkirov, Fischer, Richter, Casadesus
>
>G. Gould (studio or live, Stockholm)
Weird.
>>#25 KV503 Fischer, Richter, Casadesus
>
>Bishop-K
Then why not Geza Anda? :-)
>>#26 KV537 Casadesus
>>#27 KV595 Gilels, Richter, Schnabel, Casadesus
dk
Simon Roberts
Distribution:
Neil Tingley (mu...@netlink.co.uk) wrote:
: On Thu, 12 Feb 1998 15:03:19 GMT, amco...@ix.netcom.com (Alan Cooper) wrote:
: >>Bishop-K
: >
: >Moravec (x2) outshines all of the above.
: Is this with Mariner ? I must get hold of it.
There are two Moravec recordings that I know of: with Marriner on
Haenssler (coupled with 24) and with Vlach on Supraphon (I have it coupled
with K475 only (!), but I think it's since been reissued with some of his
other Supraphon Mozart concerti. I can't say I would say it outshines
"all of the above", certainly not Kovacevich -- it's rather small scale
and emotionally reserved (odd qualities in this of all the concertos), its
other virtues notwithstanding.
Simon
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
: In article <34E34D2B...@imaginet.fr> wapi...@imaginet.fr writes:
: >Anyway, I would take any Mozart (or anyone else's) concerto
: >conducted by Szell.
: Too bad, Mozart didn't write them for conductors.
Oh, sure he did -- not literally, of course, but in the sense that in his
best concertos the orchestral part is as important musically as what the
soloist does, and it makes a huge difference, to me at least, how good the
conducting is. For all that, I join you in not liking the Serkin/Szell 20
(for both Szell and Serkin); on the other hand, Szell's conducting is one
of the reasons why Casadesus' is probably my favorite 22.
Simon
Alan Cooper
d...@netcom.com (Dan Koren) wrote:
>In article <34e30f11...@nntp.ix.netcom.com> amco...@ix.netcom.com (Alan Cooper) writes:
>>mu...@netlink.co.uk (Neil Tingley) wrote:
>>
>>
>>>>#25 KV503 Fischer, Richter, Casadesus
>>>
>>>Bishop-K
>>
>>Moravec (x2) outshines all of the above.
>
>Now let's be serious. Moravec is a fine pianist, however
>outshining Fischer, Richter or Casadesus in Mozart is an
>entirely different business. AFAIK the only world class
>performance Moravec has produced is the 196? recording
>of the Beethoven 4th with Turnovsky conducting.
Not in Mozart generally, Dan, just in K.503, for which Moravec seems
to have a particular affinity (preferably the earlier version with
Vlach rather than the smoother, more reserved performance with
Marriner). Despite your comment, I think that some of Moravec's
Chopin, Debussy, and other Beethoven are pretty "world class," too.
Returning to Mozart, the Moravec/Vlach K.488 is worth acquiring, too;
the outer movements are a bit too dreamy for my taste, but the slow
movement (with those Czech winds!) is divine.
Alan Cooper
Allan Burns
> Now let's be serious. Moravec is a fine pianist, however
> outshining Fischer, Richter or Casadesus in Mozart is an
> entirely different business. AFAIK the only world class
> performance Moravec has produced is the 196? recording
> of the Beethoven 4th with Turnovsky conducting.
1963--a wonderful recording.
I don't know precisely what "world class" means in this context, but I
think Moravec deserves more credit. I'm quite fond of his K503 (w. Vlach,
of course).
Allan
Lance G. Hill
Well, no question, Ivan Moravec is among the world's finest pianists albeit
not (perhaps) quite as well known as some of the others in this thread. His
Mozart Concerto #25 (Supraphon LP 1-10-1559) with the Czech Philharmonic
under Vlach is among the most profound recordings of that concerto. This is
coupled with a lovely Fantasia in C Minor, K. 475. Then there are the
Concerto Nos. 14 and 23 issued on a Quintessence LP some years ago as
PMC-7107, not to mention his Connoisseur Society all-Mozart recital
(CS-2002). Personally, I think what we CAN say about Mr. Moravec as that he
is an all-around, contemplative pianist who produces a lush sound in just
about anything he records. Think of his Connoisseur Society recording of
Debussy (CS-1566) which was performed on a magnificent Baldwin concert grand
(selected by Moravec for its glorious "coloring" abilities) ... one of the
finest recordings of Debussy one may encounter! (Pardon me, Mr. Gieseking!)
That said, we cannot take anything away from Robert Casadesus who was
perhaps one of the greatest Mozart concerto interpreters of all time.
Lance G. Hill, Director of BBS Services
MSN - Classical Music Forum
http://forums.msn.com/classicalMusic/
lance...@msn.com
Alan Cooper wrote in message <34e46c5a...@nntp.ix.netcom.com>...
>d...@netcom.com (Dan Koren) wrote:
>
>>In article <34e30f11...@nntp.ix.netcom.com> amco...@ix.netcom.com
(Alan Cooper) writes:
>>>mu...@netlink.co.uk (Neil Tingley) wrote:
>>>
>>>
>>>>>#25 KV503 Fischer, Richter, Casadesus
>>>>
>>>>Bishop-K
>>>
>>>Moravec (x2) outshines all of the above.
>>
>>Now let's be serious. Moravec is a fine pianist, however
>>outshining Fischer, Richter or Casadesus in Mozart is an
>>entirely different business. AFAIK the only world class
>>performance Moravec has produced is the 196? recording
>>of the Beethoven 4th with Turnovsky conducting.
>
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
: Dmitri Bashkirov, born 1930. Won 1st prize at the 1956 Marguerite
: Long Jacques Thibaud Competition in Paris. Absolutely fabulous.
: If I'm not mistaken he currently lives and teaches in Spain.
: Neil Tingley has posted a review of a Bashkirov concert just a
: few days ago.
: >What label?
: Melodiya. Also a handful of recordings reissued on Harmonia Mundi,
: Chant du Monde, Artia and other labels which recycled Russian
: recordings at various times.
Thanks; I'll keep my eyes open....
Simon
Lawrence Eckerling
p-peters wrote:
>
> Lawrence Eckerling schreef:
>
> > Qingchun Guo wrote:
> > >
> > > Pianist Mitsuko Uchida and the English Chamber Orch produced a series of
> > > Mozart piano concertos. If you have listened to some of the CDs (the CDs
> > > are made by Philips), could you tell me what you think about them?
> > >
> > > S&H. I am thinking of buying it but don't know whether it's worth it or
> > > not. Your opinions are appreciated. Thanks.
> >
> > I find these performances and this pianist in general to be astoundingly
> > brilliant, both technically, and in musical insight. Contrary to what
> > others have said in this thread, her clarity is unparalleled, and her
> > sound is absolutely phenominal. If you own this set, you need no
> > others. They are amazing.
> >
> > Lawrence Eckerling
>
> You *always* need others IMHO.
>
> Philip Peters
Fair enough!
Lawrence Eckerling
wapi...@imaginet.fr
Dan Koren a écrit:
> >Serkin/Szell in K. 466
>
> Such as this one.
>
> >(the Casadeus/Szell has just been reissued, and is as fantastic),
> >and Fleisher/Szell in K. 503.
>
> Or this one.
Would you mind developing a little? If only for the initial, orchestral
ritornello in the last movement of 466, I will forever chersih this one.
> >Anyway, I would take any Mozart (or anyone else's) concerto
> >conducted by Szell.
>
> Too bad, Mozart didn't write them for conductors.
Of course he did - some conductors prove it abundantly every day
(butchering their job, need I to add).
> >> BTW, Fischer means Edwin, not Annie.
> >
> >Too bad, because Annie is great.
>
> Yeah, she smoked almost like Schnabel :-)
But had better fingers. This could go on forever.
> >One absence on this list, and in all the postings : what about
> >Christian Zacharias?
>
> Obviously he doesn't meet my minimum standards. I would however
> consider Gulda.
What are your minimum standards poor Christian doesn't meet? Whereas dear
Friedrich does? Smoking? Walking around naked playing a flute?
PK
wapi...@imaginet.fr
Dan Koren wrote:
> Then why not Geza Anda? :-)
Because he's dry and precious. I always feel like, instead of a cup of coffee, I was
given some coffee beans and a glass of boiling water. And sentimental, to boot.
PK
Simon Roberts
wapi...@imaginet.fr wrote:
: Dan Koren wrote:
I like that.... Also, the orchestral contribution just won't do.
Simon
Alan Cooper
si...@dept.english.upenn.edu (Simon Roberts) wrote:
You guys missed DK's sarcastic point. The original post was:
>>#25 KV503 Fischer, Richter, Casadesus
>
>Bishop-K
Then why not Geza Anda? :-)
Meaning: the mediocre B-K is no better than the mediocre Anda, so if
you're going to include one, you might as well include the other
(that's why there's a smiley face after the "suggestion.") It's not
that I've taken to expounding Dan's comments. Rather, I'm with him on
this one: B-K and Anda are, indeed, several rungs below his three
recommended performances, and I still prefer Moravec/Vlach to those
three.
Alan Cooper
Simon Roberts
Alan Cooper (amco...@ix.netcom.com) wrote:
: si...@dept.english.upenn.edu (Simon Roberts) wrote:
Oh, Dan's point was perfectly clear; but I think Kovacevich's 25 is superb
(doubtless Dan will send a suitable "correction"), Anda's not even close
-- hence the need to differentiate. I also prefer Kovacevich to Moravec;
I listened to both of Moravec's yesterday and still find them too small
scale for me -- and his reluctance/refusal to "fill in the blanks" in the
second movement in his first recording continues to irritate (I realize
that's standard practice from pianists of a certain era and before, but I
find the "retreat" difficult after hearing so many more recent pianists
fill in the blanks). I like some of Vlach's conducting, though (not
that it's quite good enough; this concerto is further refutation of Dan's
quip that Mozart didn't write any concertos for conductor).
Simon
wapi...@imaginet.fr
Alan Cooper a écrit:
> You guys missed DK's sarcastic point. The original post was:
I admit I have. There were just too many layers of sarcasm there, and I got lost. Call you
as soon as I find my way out.PK
Steffen Kluge
In article <34effbef....@reading.news.pipex.net>,
Neil Tingley <mu...@netlink.co.uk> wrote:
>On Wed, 11 Feb 1998 20:09:08 GMT, d...@netcom.com (Dan Koren) wrote:
>
>I agree with Dan for the perfs I've heard plus a few additions of my own
>
Hmm, speaking of Mozart piano concertos Bilson and Brendel are among
the first who come to my mind. I wonder why nobody is mentioning them?
Cheers
Steffen.
--
Steffen Kluge <kl...@fujitsu.com.au>
Fujitsu Australia Ltd
Keywords: photography, Mozart, UNIX, Islay Malt
--
Jeff MacDonald
I've been lurking here for a couple of days to get an idea of how to
buy more of what I like. Just to calibrate myself to the sensitivities
of the folks here, what is the general opinion of Horowitz'
interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
Mozart 3D Collection?
Thanks,
Jeff MacD
[remove 'spamless.' from address]
On 15 Feb 1998 14:38:00 GMT, si...@dept.english.upenn.edu (Simon
Vladislav Panferov
ferns wrote:
>
[snip]
> I myself like Rudolf Serkin, Abbado & the LSO. But noone else seems to.
They should have recorded the concerti at least ten years earlier...
Serkin
still had a fine musical taste, but he just couldn't play technically
adequately to his concept (IMHO). Anyway, I still put Serkin way ahead
Uchida
and a lot of other pianists in this music. Abbado's accompaniment is
fine if
not always consistent with Serkin's playing (or maybe it's Serkin who
cannot
get in time..) Some moments sound pale compared to the better versions,
but
there are some which are interesting and well played (cannot give any
examples since it was a while ago when I listened to them last time).
/vlad
--
My e-mail address is vk...@math.chalmers.se
Simon Roberts
Jeff MacDonald (spamless...@sprynet.com) wrote:
: I've been lurking here for a couple of days to get an idea of how to
: buy more of what I like. Just to calibrate myself to the sensitivities
: of the folks here, what is the general opinion of Horowitz'
: interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
: Mozart 3D Collection?
I rather like it for its quirky, untraditional, "unstylish" approach; I'm
not sure it would be a responsible recommendation to someone starting from
scratch, but it's an excellent antidote to, say, Uchida....
Simon
:-] Jordi Savall
Lawrence!
Her technique is wondreful and her sound is too, but what about
music. Hear Maurizio Pollini to hear music!
...
(o o) Juan Zurutuza
ooO--(_)--Ooo---------------
| | | | |
----------------------------
| | | | |
----------------------------
Eteocle
uchia and moozart-love at first sight
Rachel Chen
Jeff MacDonald <spamless...@sprynet.com> wrote in article
<34e780c1...@news.sprynet.com>...
> I've been lurking here for a couple of days to get an idea of how to
> buy more of what I like. Just to calibrate myself to the sensitivities
> of the folks here, what is the general opinion of Horowitz'
> interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
> Mozart 3D Collection?
>
>
Umm......different! (but I like it)
--
Rachel
-------------------------------------------------------------------------
http://www.geocities.com/Wellesley/2358/
"Momma! Momma! Where are you!?Waaaa
aaaahhhhhhhh!"
--The Baby League
-------------------------------------------------------------------------
Mario Taboada
> I've been lurking here for a couple of days to get an idea of how to
> buy more of what I like. Just to calibrate myself to the sensitivities
> of the folks here, what is the general opinion of Horowitz'
> interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
> Mozart 3D Collection?
Rotten. Volodya had no idea of how to play Mozart. Still, he is better
than Glenn Gould in this music. Volodya is only weird about 40% of the
time, but Glenn puts his foot in it on every bar!
Regards,
Mario Taboada
wapi...@imaginet.fr
:-] Jordi Savall a écrit:
Dear Jordi,
Could you please repeat that? Have I heard right? Maurizio Pollini? In a
Mozart Piano Concerto? You didn't mean Boulez' Second Sonata by any chance?
Yours truly
Juan Manuel Quintana (BTW : do you know him?)
:-] Jordi Savall
>
> Dear Jordi,
> Could you please repeat that? Have I heard right? Maurizio Pollini? In a
> Mozart Piano Concerto? You didn't mean Boulez' Second Sonata by any chance?
>
Of course, haven't you heard him, he is wonderful. I don't
understand why can a pianist play only a kind of music style!
Juan
Dan Koren
In article <34E5E323...@imaginet.fr> wapi...@imaginet.fr writes:
>
>
>Dan Koren a écrit:
>
>> >One absence on this list, and in all the postings : what about
>> >Christian Zacharias?
>>
>> Obviously he doesn't meet my minimum standards. I would however
>> consider Gulda.
>
>What are your minimum standards poor Christian doesn't meet? Whereas dear
>Friedrich does? Smoking? Walking around naked playing a flute?
Personality and imagination. Christian Zacharias is as bland as
bland ever comes.
dk
Dan Koren
In article <6c86oj$2n0$1...@syd0137.fujitsu.com.au> kl...@fujitsu.com.au writes:
>In article <34effbef....@reading.news.pipex.net>,
>Neil Tingley <mu...@netlink.co.uk> wrote:
>>On Wed, 11 Feb 1998 20:09:08 GMT, d...@netcom.com (Dan Koren) wrote:
>>
>>I agree with Dan for the perfs I've heard plus a few additions of my own
>>
>>Solomon
>>G. Gould (studio or live, Stockholm)
>>Bishop-K
>
>Hmm, speaking of Mozart piano concertos Bilson and Brendel are among
>the first who come to my mind. I wonder why nobody is mentioning them?
Because they only come first to your mind.
How would anyone else know?!?
dk
Dan Koren
In article <34e780c1...@news.sprynet.com> spamless...@sprynet.com (Jeff MacDonald) writes:
>I've been lurking here for a couple of days to get an idea of how to
>buy more of what I like. Just to calibrate myself to the sensitivities
>of the folks here, what is the general opinion of Horowitz'
>interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
>Mozart 3D Collection?
KV333 is my opinion the best recorded performance ever.
You're probably not going to hear many people seconding
me, since Horowitz' Mozart and Beethoven are somewhat
bete noire around this newgsroup.
The other two are also very fine but leave me a little
colder.
dk
Dan Koren
In article <34E827...@sprintmail.com> Mario Taboada <matr...@sprintmail.com> writes:
>> I've been lurking here for a couple of days to get an idea of how to
>> buy more of what I like. Just to calibrate myself to the sensitivities
>> of the folks here, what is the general opinion of Horowitz'
>> interpretation of Mozart's piano sonatas KV281, KV330, KV333 on DG's
>> Mozart 3D Collection?
>
>than Glenn Gould in this music. Volodya is only weird about 40% of the
>time, but Glenn puts his foot in it on every bar!
Not rotten at all. Volodya had plenty of idea how to play Mozart (or
anything else for that matter) and this is exactly why so many souls
object to his interpretations, while at the same time praising Uchida,
Brendel, Perahia and Zacharias to the sky. By and large the crowds like
nothing better than pomp and blandness.
dk
Simon Roberts
Dan Koren (d...@netcom.com) wrote:
I don't disagree with your comments on Horowitz, whose unconventional
Mozart I like rather a lot, but this seems an odd way of putting it; it
was Horowitz who drew crowds, not these four. You have to be a member of
a rather tiny group to have even heard of Zaccharias....
Simon
p-peters
wapi...@imaginet.fr schreef:
> Dan Koren a crit:
>
> > >Serkin/Szell in K. 466
>
> >
> > >(the Casadeus/Szell has just been reissued, and is as fantastic),
> > >and Fleisher/Szell in K. 503.
> >
>
>
>
>
>
>
>
>
>
>
>
>
What about Michelangeli/Farben for K.503
K.466: lot of choice:
Richter/Wislocki
Michelangeli/Garben
Hess/Walter
Curzon/Britten
Philip Peters
wapi...@imaginet.fr
Dan Koren a écrit:
> Personality and imagination. Christian Zacharias is as bland as
> bland ever comes.
Define personality, imagination and blandness. I know him, I know his work,
have known it for years : if ever there was a colourful personality full of
imagination, it's him. The only thing that's bland about him, is his overcoat
(seems to be the same I saw first twenty five years ago).
Sorry, won't follow you there.
PK
wapi...@imaginet.fr
Dan Koren a écrit:
> Not rotten at all. Volodya had plenty of idea how to play Mozart (or
> anything else for that matter) and this is exactly why so many souls
> object to his interpretations, while at the same time praising Uchida,
> Brendel, Perahia and Zacharias to the sky. By and large the crowds like
> nothing better than pomp and blandness.
If you put Uchida and Zacharias (to name but two) in the same group, try to explain why the
British critics love U (considering her colourful) and hate Z (considering him bland). As for
Volodya, I agree with you completely : I'd rather listen to his bad ideas than to many other
pianists good ideas. So there's still hope.
PK
Dan Koren
In article <34EF7C0B...@imaginet.fr> wapi...@imaginet.fr writes:
>
>
>Dan Koren a écrit:
>
>> Personality and imagination. Christian Zacharias is as bland as
>> bland ever comes.
>
>Define personality, imagination and blandness.
Mon cher ami, one cannot define personality and imagination any more than
one can define beauty. On the other hand, we all know it when it's there,
n'est-ce pas?
>I know him, I know his work, have known it for years : if ever there was a
>colourful personality full of imagination, it's him. The only thing that's
>bland about him, is his overcoat (seems to be the same I saw first twenty
>five years ago).
That may well be your problem - knowing him in person. I do not doubt that
he is exactly as you describe him, but that does not mean he projects these
qualities into his performances and his recordings. Not having the luck of
knowing Mr. Zacharias I can only go by what my ears tell me when I listen
to his recordings, and I do not recall even a single performance caught my
attention.
dk
Dan Koren
I'm not as foolish as to try explaining why the Pengraphone critics like or
dislike anyone in particular. I haven't seen much rhyme or reason in their
reviews in a long time. Let me just say however that if the Pengraphone
deems anyone too bland for their taste that person is most likely to be
too bland for my taste as well.
As to Ms. Uchida's success with the Pengraphone, two possible explanations
come to mind. The first would be some measure of gender bias, which as we
all know has recently become a rather common distortion in music reviews.
I don't know how to fix this but it seems rather obvious to me that all
published record reviews should be based on blind listening sessions.
Unfortunately none of the music review magazines subscribe to this basic
measure of decency.
Another possible explanation is that the reviewers may be under the
influence of some of Ms. Uchida's other (ie. non-Mozart) recordings,
some of which might be considered "colorful" because of their willful
disregard of established interpretation. Her Kreisleriana comes to
mind in particular - it is easily the ugliest performance on record,
approaching Glenn Gould in malice towards the composer and the work.
dk
wapi...@imaginet.fr
Dan Koren a écrit:
> Mon cher ami, one cannot define personality and imagination any more than
> one can define beauty. On the other hand, we all know it when it's there,
> n'est-ce pas?
Quite so. Only we rarely pick up the same one when they all stand in a line.
> That may well be your problem - knowing him in person. I do not doubt that
> he is exactly as you describe him, but that does not mean he projects these
> qualities into his performances and his recordings. Not having the luck of
> knowing Mr. Zacharias I can only go by what my ears tell me when I listen
> to his recordings, and I do not recall even a single performance caught my
> attention.
I know the danger. My taste for his performances came first. Sorry you don't
like him. What else can I say. We shall certainly find someone else to share!
PK