The third volume in this series from Bridge once again features pianist Anne-Marie McDermott and the Odense Symfoniorkster, this time conducted by Sebastian Lang-Lessing.
This disc includes K. 449 and K. 595.
The “Allegro vivace” of No. 14 in E-flat major, lifts off well in the introduction and establishes a good sense of the drama to come. Only a more consistent staccato could improve the opening statements. McDermott’s initial entry most certainly takes stage and, as is customary, all of the technical challenges are tossed off with deceptive ease. The development is “just so” more going through the sequences/episodes than bringing insight into the subjects. As can often happen, the fp markings are treated more like sfzp, producing more sting than dark/light contrast. The return is expertly delivered, followed by a dreamy music box second subject before a beautifully balanced cadenza that aptly demonstrates the soloist’s virtuosity. The ensuing coda serving its purpose by offering a heartfelt adieu, is just slightly untidy in execution.
More weight on the leading tones would add much to the inner beauty of the “Andantino”. McDermott magically renders her lines with the requisite amount of understatement when required, absolutely understanding that less can most certainly be more.
Lang-Lessing immediately establishes an ideal tempo for the “Allegro ma non troppo”. McDermott’s triplet interventions—a welcome contrast in a sea of duples, but Mozart, of course, knew that all along!—send the finale scurrying happily on its way. The also unusual—thus far—syncopations could stand a tad more ride to drive that change sturdily into the ear. All in all, a performance the deftly describes the composer’s ability to take seemingly innocent themes, and turn them into a magnificent composition. But that’s what masters do.
How entirely appropriate to review Piano Concerto No. 27 in B-flat major on the exact 20th anniversary of JWR (August 21, 2001). Mozart’s last, and in many ways most operatic work in this genre—the piano and orchestra seemingly more like two characters with the same goals but different ways of achieving them—first came to light in these pages with a Murray Perahia performance at the Lucerne International Festival (cross-reference below).
Lang-Lessing offers up a stately and poised opening that could only benefit from more lift on the 16ths following the dotted eights and a drier staccato. McDermott‘s first entrance is a heady mix of gentle, delicate and assertive phasing as required.
The “Larghetto,” is marvellously introspective as the pianist chooses subtlety, some compelling childlike declamations and tasteful ornamentations that all enhance the overall effect.
The cadenza-rich closing “Allegro” most certainly defines musical happiness and joy, featuring bravura to burn, impish commentaries, and—we agree!—a reluctant adieu.
Merci mille fois. JWR