In
the late 1980s these performances came out on a bargain Philips
CD, with a cheap and nasty cartoon type cover. I recall purchasing
it from Hickies in Reading. It was a very well regarded recording
and had been made in 1972 when Stephen Kovacevich (previously
Bishop) was at his height as a rising star along with other
luminaries such as Barenboim. Du Pré and
Perlman. Kovacevich’s recordings of Beethoven concertos,
also under Colin Davis, had been made a year or two earlier
and were similarly re-released
in 1989 and likewise purchased by yours truly. I recall enjoying
these performances but haven’t heard them for 15 years. The
original CD must have been exchanged a few years back. Here
it is again ready for re-appraisal in splendid new packaging.
It proclaims “Rosette” status from the splendid and indispensable “Penguin
Record Guide”.
Well!
I knew they were very fine performances but listening to
these two wonderful piano concertos over two weeks I would
now put them at the top of the tree. The playing is just
right throughout and the accompaniment under Sir Colin -
still going strong at nearly 80, who responded warmly to
my greeting at Christ Church recently - is marvellous. This
was the period of his Mozart opera recordings and clearly
he was in full communion with the Salzburg genius.
Piano
Concerto No. 21 is often only
thought of for the dreamy slow movement (Richard Clayderman
et al!) but it is throughout one of Mozart’s top five (or
six). The first chords of the opening movement are like
a call-to-arms and right from the start you are engrossed
in marvellous music here played supremely by a man who
must have been about the same age as Mozart at the time!
The interplay between pianist, woodwinds et al is just
breathtaking. Unless you are averse to Mozart this is a
compulsory listen; I can only apologise for neglecting
this rendition for so long! If you don’t know it or haven’t
a good recording then rectify that situation now - get
this CD! In these works I’m very fond of Lipatti in a live
and exciting recording from late 1940s (EMI Classics
GROC 67775B). Then again there’s Barenboim’s
version - currently in an excellent value box of all the
concertos made slightly earlier than Kovacevich with the
ECO (EMI Classics 72930). That said Kovacevich
and Davis seem to me to be perfect and the sound is splendidly
burnished.
The last movement has one of Mozart’s rousing rondos and
pianist and conductor fire away with all the panache called
for.
Piano
Concerto No. 25 starts in a
darker and more powerful way and is known to have heavily
influenced Beethoven. It has an imposing beginning and
once again the performers are at the top of their game.
The slow movement is a favourite; the wit and development
of Mozart never ceases to amaze. The playing does it justice
in spades! Very moving indeed. For fun I compared Barenboim’s
version with Klemperer and the New Philharmonia (“Great
Pianists of Twentieth Century 9”, Philips 456722-2). This
was recorded separately from his self-conducted ECO set.
In the Andante Barenboim and Klemperer take two minutes
longer. Hearing it after Kovacevich and Davis it sounds
funereal; great playing but lacking the pulse needed in
this music. It’s an interesting recording which I hadn’t
come across before, knowing the ECO set, but it’s not a
top recommendation. I think Kovacevich is totally right
here. In the Allegretto Barenboim’s version is again slower
but his playing is supreme; pity about the conductor! After
the introduction Mozart brings in a melody to die for and
Kovacevich at a faster pace than Barenboim is fully on
top of the music throughout and the orchestra sympathetically
accompany him to the triumphant conclusion.
There
have been many superlatives in this review but they’re all
deserved. This has been regarded as one of the definitive
Mozart records and it still is! Enough - I’m going to listen
to the music again!
David R Dunsmore
BUY NOW
Crotchet
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Stephen Kovacevich
(piano) 
