Your First Pick? - Mozart Piano Concerto No. 20

[Richard]

Of the currently available recordings the Mozart Piano Concerto No. 20, in D minor, K 466, I like Richard Goode and the Orpheus Chamber Orchestra, Nonesuch 79439-2.

My all-time favorite recording is an old LP record, I have, of Daniel Barenboim and the English Chamber Orchestra, Angel/EMI S-36430 (I believe from the late 1960's). It is no longer available, but it may be a part of a complete set of Mozart Piano Concertos, by Barenboim and the ECO, on the EMI Classics label (72930- 10 CD's, $65.00). I am not sure, however, if my old recording is the one included in this set. None-the-less, I hope someone will re-release this recording as a seperate.

One final note, or notes. At the end of the 3rd movement, right at the end of the piece, there are six trumpet notes, four at the same pitch with the final two descending. I don't know what is correct nor do I know what Mozart intended, but I like to hear some "grit" behind these six notes. With most of the recordings, I've heard, these six notes are kind of subdued and wimpy. I don't like to hear this magnificent concerto end on a wet noodle. The Barenboim recording does give emphasis to the six notes, which makes for a rousing conclusion to this exemplary work.

[Teresa B]

I don't have a personal favorite recording of K466, but I agree totally about those trumpet notes. "Grit" is definitely needed, not wimpiness! I hate any rendition of Mozart in which notes like that are played delicately. IMHO, Mozart, when he's in an unbuttoned mood, is ruined by overly "precious" interpretations.

All the best, Teresa

[C.B.]

One final note, or notes. At the end of the 3rd movement, right at the end of the piece, there are six trumpet notes, four at the same pitch with the final two descending. I don't know what is correct nor do I know what Mozart intended, but I like to hear some "grit" behind these six notes. With most of the recordings, I've heard, these six notes are kind of subdued and wimpy. I don't like to hear this magnificent concerto end on a wet noodle. The Barenboim recording does give emphasis to the six notes, which makes for a rousing conclusion to this exemplary work.

This is not the only work of Mozart, or indeed of the entire Viennese Classical period, where the trumpet parts are given "short shrift". Consider Mozart's Symphony No. 39 in E-flat, where the trumpets (and horns) intone the principal theme, which ranges up to a high Bb (written high G). It's a heroic theme with an uncanny resemblance to the main theme of Beethoven's Eroica, but most conductors "soft-pedal" the part. The only one to give the first trumpet the spotlight is Klemperer's with the Philharmonia from the early '60s, a really great performance all-in-all.

The list of neglected trumpet parts in the Viennese Classics is in fact nearly endless. I don't know what it is--do conductors really buy into the bogus textbook notion that trumpet playing declined during the second half of the 18th century? In fact, the most demanding trumpet concertos ever written (at least in terms of range) stem from that period--those by Molter and Michael Haydn, where the soloist is often required to play a high G above high C.

In my humble opinion, a performance of a trumpet-and-drum work by Mozart, Haydn, Beethoven and Schubert improves immeasurably when the conductor brings out the trumpets (and tympani) at key points. Knowing where those are makes all the difference, but it seems that most conductors nowadays don't know or don't care. The trumpet in a Viennese Classical score may have fewer notes than any other part, but when the trumpet speaks, it should be heard.

[Wallingford]

It was Bruno Walter--playing AND conducting it--who made me embrace the work.

[Brendan]

Clara Haskil is my first choice. The Barenboim recordings were issued as budget discs ("EMI Redline") here a few years ago, although I cannot find any reference to them on the net for anyone wanting them indivually.

[daycart]

Like Richard, my favorite is the Barenboim on Angel vinyl. He nails the cadenza pretty well.

[Lance]

We are on the same wavelength insofar as making this the next "First Pick." I am delighted it is here. While I love every one of Mozart's piano concertos from No. 9 through No. 27, the No. 20 D Minor Concerto, K. 466 is my most favorite of all. I have nearly every recording by a major and lesser-known pianist of this work

MY FIRST PICK:
Artur Rubinstein, piano / RCA Victor Symphony Orchestra, Alfred Wallenstein, conductor. [Beethoven cadenzas.] RCA 7967 [first CD release], same performance on RCA 60361 (2 CDs) [Rubinstein Edition].

Rubinstein recorded the D minor on April 1, 1961 when he was absolutely at the peak of his powers. Everything seems to be right about this recording, the flow of the music, the interpretation by pianist and conductor alike, balance of piano and orchestra, the acoustics, the rich, and the glowing, clean and clear sound of Rubinstein's piano with his inimitable singing tone. When I first acquired the original LP release, it was akin to walking on air listening to this pianist. While I consider myself somewhat a Rubinstein fanatic, I am not always fond of everything he recorded. Near as I can recall, Rubinstein inscribed only a handful of Mozart's concertos: Nos. 17, 20, 21, 23, and 24. The 23rd was recorded twice in the days of 78s, and re-recorded in the stereo era. They are all beautifully conceived and recorded works—especially the stereophonic performances—but it is the 20th that remains the highlight of his Mozart concerto recording output, and is the one that is most memorable for me. Perhaps I am so fond of this performance because of Rubinstein's Romantic conception of the piece.

More Classically-conceived performances are those by Artur Schnabel, Edwin Fischer, Rudolf Serkin, Yvonne Lefebure, Clifford Curzon, Clara Haskil, and many others. Michelangeli's [DGG 429.353] is also a stunning performance and more like Rubinstein's in its Romantic conception and articulation. I also think that Richard Goode is a supreme interpreter of Mozart concertos.

I think the First Picks for this work will be all over the place.

[Corlyss_D]

There's not a lot of Mozart I can't stand, but this and the 21st have been so done to death that I have no favorites. I never want to hear these two concerti ever again as long as I live. Call me if you ever want to discuss the 9th.

[Teresa B]

Hey Cor-r-r-ly-s-s-s.....

Yeah, how 'bout the 9th? If our chamber orchestra survives until Spring 2007, I will probably be performing it. We did #14, K449 this past year, another really great Mozart work that is underplayed.

Years ago, the first time I ever heard no 9, I recall thinking it had to be one of Mozart's later works, but imagine my surprise. What a phenomenal piece! I've just started looking at the score to begin work on it. (a year and a half should do it, no? ) It's quite challenging, and I surmise Mme. Jenomy (sp?) must have been a very good pianist!

I'm interested in your input on this piece.
All the best, Teresa

[karlhenning]

There's not a lot of Mozart I can't stand, but this and the 21st have been so done to death that I have no favorites. I never want to hear these two concerti ever again as long as I live.

Ah-ha! This from "there can never be too much Mozart"!!! Tchah!!!

:-)

[karlhenning]

My first pick on this is Rudolf Serkin with Abbado, with the Beethoven cadenze (or does everybody use those?)

[BWV 1080]

Jando on Naxos is rather good on #20

[Peter Schenkman]

For the D Minor Concerto:

Richter / with Wislocki, Warsaw Philharmonic (25 - 26 April 1959) is hard to better.

Serkin / Szell, Columbia Symphony Orchestra (April 26 & 27, 1961) is also very good. The later version with Abbado doesn’t come close.

Clara Haskil is also quite the Mozart player.

Peter Schenkman

[Bengti]

Top choice has to be Perahia/ECO previously on CBS now on Sony, both on CD and SACD. The finale has get verve below the darkness, and the closing passages has capture great playing from the brass. (Their top notes on the cescendo incisive yet full in tone).

On the Great Pianists series, Adolf Busch fron the 1930s gives an altogether surreal performance of this piece too, well worth checking out for the style of the time, as opposed to any hi-fi sound quality.


Beng@Singapore

[Peter Schenkman]

I always thought that the Serkin / Busch Mozart Concerto that they recorded together was not the D minor, No. 20 but the earlier No. 14 in E-Flat Major, recorded Oct. 11, 1938, available when last I saw it on a two disc set titled “Rudolf Serkin: The First Recordings” on the EMI label (CD7 54374 2)

Peter Schenkman

[Bengti]

Hi Peter,

I think you are right, Ill go back tonight and check the performers listing for the rendition I have in mind. Could be Fischer. Thanks for pointing it out.

[Corlyss_D]

Ah-ha! This from "there can never be too much Mozart"!!! Tchah!!!

Fortunately, there are 624 compositions that are not either the 20th or the 21st, so I'm in good shape! Still lots to hear that I can never get too much of. In fact, I just got those packages of Philips recordings of the complete divertimenti, notturnas, serenades, and incidental music. I can pig out on those.

[Bengti]

Indeed some of his buried treasures are in those sets. Particularly the divertimenti and marches. Are you getting the mid priced versions or the budget price ones ?

[Corlyss_D]

Indeed some of his buried treasures are in those sets. Particularly the divertimenti and marches. Are you getting the mid priced versions or the budget price ones ?

I buy all my cds used. They were half the full price for 15 cds

[Bengti]

Do you get them off the internet, if so, where?

[Corlyss_D]

Do you get them off the internet, if so, where?

Amazon. I buy from their 3rd party sellers. I've only had one problem in the 5-6 years of doing so, and I wouldn't have had that if I had looked at the cd when it came fresh.

[Bengti]

Hey Peter,

Correction indeed - I was thinking of Edwin Fischer Vol 26 of the Great Pianists on Philips. With the London Philharmonic Orchestra. 1933 -Bygone era.

[karlhenning]

Ah-ha! This from "there can never be too much Mozart"!!! Tchah!!!

:-)

Fortunately, there are 624 compositions that are not either the 20th or the 21st, so I'm in good shape!

And luckily, all 624 of these are superior to anything written by any composer else! :-)