Orchestral
CD and Other Review

Review: Mozart: Piano Concertos (Mitsuko Uchida)

Mitsuko Uchida is a force to be reckoned with. Her interpretations of Mozart, Beethoven, Schubert and Schoenberg have won her numerous prizes and accolades (including a Damehood), as well as garnered her international acclaim. Here, she continues her Grammy award-winning recording project of the Mozart piano concerti with the Cleveland Orchestra. The disc opens with the concerto No 19 in F, a more softly spoken work than No 18 in B Flat. The Cleveland Orchestra is in fine form, with a sound that’s warm and gentle, and beautifully balanced against the piano. Uchida’s first notes say it all: pristine clarity, perfect technique, finessed but not a hint of ostentation (particularly in the delicate second movement). She conveys the sincerity of the music, and the result is just gorgeous. The final movement is a bright and robust end to this charming work. The opening of No 18 is another delight – buoyant and fun. The second movement is a darker and more sombre work, while the finale is more light-hearted and joyful. Uchida’s performance contains the sparkling refinement for which she has become famous. Her method is never exaggerated or… Continue reading Get unlimited digital access from $4 per month Subscribe…

April 9, 2015
Orchestral
CD and Other Review

Review: Bruch: Violin Concerto No 3 (Liebeck)

Bruch’s reputation was dealt a blow during the Nazi period as the dopey fascists thought that, as a result of his fine cello work, Kol Nidrei, he was probably a Jew and consequently banned his music. It took a long time for it to be returned to favour. The Scottish Fantasy is among his most popular works, and deservedly so. The mordant opening doesn’t promise much, but the violin soon emerges in a series of ruminative phrases and beguiling sea surges from which the fine melody (for which the work is famous) develops. The Adagio is gorgeous and the five-movement fantasia finishes with a robust swirl of the kilts. His third violin concerto is rarely played and it’s not hard to see why. Although professionally written, it seems to have little appeal and cannot hold a candle to the popular First Concerto. The final movement is the strongest, with many attractive phrases reminding us of his better works. At the risk of seeming a smart-Alec, it may have helped had he included some Scottish folk tunes. Nonetheless, Bruch considered it his best concerto and who am I to argue?… Continue reading Get unlimited digital access from $4 per month Subscribe…

April 8, 2015
Orchestral
CD and Other Review

Review: Europa Konzert 2014 (Berlin Philharmonic/Barenboim)

Daniel Barenboim recorded a fine Elgar Falstaff with the London Philharmonic in 1974 so it is touching that he should program the work 40 years later for this Europakonzert recorded in Berlin’s Philharmonie. It is thrilling to hear players rip into the piece as though it were Don Juan or Till Eulenspiegel and the performance emphasises Elgar’s affinity with Strauss. The big moments come across with visceral impact while the gentle reflective moments are breathtakingly beautiful.  Tchaikovsky’s Fifth Symphony may divide opinion; those who believe the Russian way is the only way will turn their noses up, but those with open ears will recognise a deeply emotional reading with broad tempi and grandly moulded gestures. Barenboim goes straight through with barely a breath between movements, and his conducting is a miracle of economy; there are big rallentandi and obvious gear changes but they are always organic and the orchestra stick to him like glue. Tonal resources mean there’s always something in reserve and the huge climaxes are always rounded; an iron fist in a velvet glove. Individual contributions are predictably superb but principal clarinettist Wenzel Fuchs stands… Continue reading Get unlimited digital access from $4 per month Subscribe Already a…

April 7, 2015