Search MusicWeb Here

selling Internationaly

aSymphonies 1 and 5 £9.00 post free

See also Symphonies 2 and 3

Vision of Judgement £9 post free

Newest Releases

Symphonies 1,2,4 £11.75 post free

  Founder: Len Mullenger
Editor-in-Chief: Rob Barnett

Some items
to consider


  • Menuhin lost tapes
  • Overtures SACD
  • Krommer Flute Quartets
  • Schubert Piano Trios 2CD
  • Menuhin lost tapes

Let me tell you

David Pia

Beethoven Rattle

Highly Impressive

Matthews Shostakovich
Sheer delight!

To live with

outstanding retrospective

A superb celebration

flair, insight, controversy

outstanding singing


Sheer bliss

best thing I’ve heard this year

this really exciting release


REVIEW Plain text for smartphones & printers

Gerard Hoffnung CDs

Advertising on

Donate and get a free CD

New Releases

Naxos Classical

Musicweb sells the following labels
Acte Préalable
Cameo Classics
Prima voce
Red Priest
Toccata Classics

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Editor in Chief
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Stan Metzger
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from
Wolfgang Amadeus MOZART (1756-1791)
Piano Concerto No. 24 in C minor, K491 [30:37]
Ludwig van BEETHOVEN (1770-1827)
Piano Concerto No. 3 in C minor, Op. 37 [35:38]
Yevgeny Sudbin (piano)
Minnesota Orchestra/Osmo Vänskä
rec. June 2011 (Beethoven) and May-June 2012 (Mozart), Orchestra Hall, Minneapolis, USA
BIS BIS-SACD-1978 [66:05]

“It’s weird”, I thought, before listening to this album, “Mozart’s Concerto No. 24 and Beethoven’s Concerto No. 3 are very similar, but you rarely see them together on an album.” Then I listened and realized why: they are, in fact, so similar that playing them back-to-back creates a risk of burnout, even in performances as good as these.
They’re both in C minor. Their opening themes sound a little alike. They both trade in grand heroism, with plush slow movements and turbulent finales. Listening to them together, you get the very strong impression that Beethoven was keeping close to his source.
Yevgeny Sudbin helps this along by turning up the dial a little bit in the Mozart, and dialing a little back in the Beethoven. The cadenzas, which he wrote himself, provide the standout moments: the first Mozart cadenza is overtly Beethovenian, including, at 12:40, a deliberate quote of the opening melody from Beethoven’s third concerto. The Mozart finale’s cadenza includes a short (abortive?) fugue of Sudbin’s own devising, which is surprising and a little harsh, while the first-movement cadenza in the Beethoven concerto contains the most breathtaking playing on the whole CD.
The Minnesota Orchestra under Osmo Vänskä are perfect, almost too much so, reminding me of my criticism of these forces’ symphony cycle: that it sounds like Beethoven played by well-engineered robots. That cycle had many fans who will love this. I can say, though, that the woodwinds - particularly clarinets - make beautiful sounds in the Mozart larghetto, full of Viennese elegance.
Some critics have noted that Sudbin makes the simplest passages (runs, trills) into the greatest pleasures. This is true. His playing is so precisely voiced, and so crystal-clear, that it’s hard not to be enthralled by passages which, to other pianists, are the busy work. This alone would make the recording a standout. The cadenzas add interest, and most of you will probably like the coupling and orchestra more than I did. Recommended in the expectation that time will increase my appreciation for the musicianship here.
Brian Reinhart
Previous review: Stephen Greenbank (March 2014 Recording of the Month)

Masterwork Index: Beethoven concerto 3 ~~ Mozart concerto 24