The DGG is a very distinguished record indeed. Pollini is sparkling in the F major, and in the a major has a superbly poised, vibrant sense of line. Every phrase here seems to speak, and he is given excellent support from Böhm and the Vienna orchestra. There is no sense of haste in the outer movements; everything is admirably paced. Good, well-detailed and finely balanced recording make this one of the finest Mozart concerto records DGG have given us. Among the K.488s, this must be ranked as second-to-none.
Product details
Is Discontinued By Manufacturer
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No
Language
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English
Product Dimensions
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4.88 x 5.55 x 0.55 inches; 3.25 ounces
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Like all the truly great composers, Mozart can take many kinds of "treatment". The romantic approach for which epithets like "magic" were liberally bestowed on Geza Anda some 60 years ago is no longer fashionable; but that's saying very little. Fashions come and go. Lasting values tend to stay around. This comment is appropriate for No. 23, for which a recorded performance is available of such utter grace and perfection that even these words seem a poor equivalent. This is Mozart: Piano Concertos no 8, 23 & 24 / Wilhelm Kempff. Any pianist up against this recording has an impossible task (which also applies to No. 24). I'm not saying this is a definitive recording - there is no such thing. But perfect in so many ways that testify to a long life lived in the service of this composer. Pollini need not be ashamed of his pianism, even with such competition before him. It is true that he cannot match the wisdom of the grand old man, but his playing leaves little to be desired in terms of elegance. He eschews leanings on the romantic era altogether (as did Kempff), which is why many reviewers felt it was a "cold" performance. This is too committal: I would say "cool". Where this version steps down a rung is in the orchestral contribution. Where Leitner matches his man with every tiniest nuance, Böhm is rather bluff and somewhat stodgy. His conducting is almost wholly "old school" and therefore in striking (and unfavourable) contrast to the young pianist's light fingered finesse. In No. 19, co-operation improves slightly, but not enough to satisfy me that these two artists actually see the work as the same way. However, Böhm does not impose himself; he is content to "accompany" whenever the soloist is in the spotlight. The frecording is good, clear and clean. All told you cannot go far wrong purchasing this item. This is not saying that in a field replete with dozens of contenders, this particular issue can claim a place right at thetop.
It's such a wonderful experience to listen Mozart's Piano Concertos by these giant musicians. Karl Bohm knows the "difficult" simplicity of Mozart's music and a young Pollini shows his great skill at the piano. As a result you have a superb performance, with a sound of quality and a well-balanced interpretation. I do recommend!
Pollini et Böhm en duo. J'aurais pensé que Pollini serait peut-être un peu froid, erreur. L'articulation est magnifique, soliste et orchestre sont à l'écoute l'un de l'autre. Un beau disque dans une acoustique très bonne, un orchestre ronflant. Recommandé.