July 19, 2021

  • McDermott's Mozart Cycle Continues

     

    Mozart Piano Concertos, vol. 3: Nos. 14 & 27
    Anne-Marie McDermott, piano.
    Odense Symphony Orchestra/Sebastian Lang-Lessing
    Bridge 9538
    Total Time:  55:05
    Recording:   ****/****
    Performance: ****/****

    If one wants to really get a sense of Mozart’s development as an orchestrator, his piano concertos are often excellent ways to peer into his exploration and experimentation with the developing orchestra.  The two concertos paired on this latest volume of Anne-Marie McDermott’s new cycle on Bridge Records feature a bit more restrained wind writing though and feel as if Mozart was unsure just exactly what sort of orchestra he’d be performing with, causing the music to have a more restrained quality.  McDermott began this project a couple years ago and this release was recorded back in August 2019.  So far, it bears one quirk of having a different conductor on the podium leading this regional Danish orchestra.  The American pianist has also recorded Prokofiev sonatas and music of Gershwin.

    The orchestra proves to be a fine accompanist from the opening bars of K. 449 (1784).  The Eb concerto has the distinction of being one of the few in a triple meter.  The third movement also is a bit unusual in its switch from 2/2 to 6/8 meter.  McDermott’s performance has a warm approach that gives the music a more Romantic feel with a tad more emotion, especially in a gorgeous performance of the “Andantino”.  In this respect, the performance is a parallel to those by Mitsuko Uchida.  She has a delicate balance that brings out both hands equally, with the lower register brought ought quite well in the finale as needed.  There is also an excellent sense of phrasing that allows the music to shine even further.  In the virtuosic moments, a sense of warmth and elegance still pervades lending a singing quality to the performance and the delicate quieter sections are quite moving.

    Mozart’s last piano concerto, K. 595, has that interesting historical pall of coming from those last difficult years of his life.  Its composition has been traced to perhaps being completed sometime between 1788-89 rather than in 1791.  Orchestration here is also paired back and gives it an at times slightly more intimate quality.  Interesting unisons with winds (coupled with some fine solo options) and strings add interesting color and the dialogue segments feel as if they come from chamber opera.  These can be quite witty with their dynamic shadings.  Thematic ideas are spread more throughout the different movements and there is a stronger exploration of motive and subsequent development.  Mozart also wrote out the outer movement cadenzas.  There were some missing measures in the first movement that have been restored for this recording which uses the now updated 2001 edition from the Neue Mozart Ausgabe as well as the amendations to the cadenzas discovered in the 1980s.  This further will make this release of interest to Mozarteans.  The concerto always seems to flirt with a Haydn-esque quality.  Here too McDermott provides a compelling reading of the piece with a seemingly effortless virtuosity for scale passages and again an overall warmer tone.  The orchestra is also warmly recorded with a fine balance and ambience.

    There are plenty of versions of Mozart concerto recordings and competition is a bit fierce here from classic recordings to modern day cycles.  When all is said and done though, McDermott’s approach certainly makes one sit up and listen to her thoughtful and beautiful performances here filled with delicacy, warmth, and a sense of wit where needed.  The orchestra takes its lead well from her interpretation and this equally makes for a rather enjoyable release.  The two earlier volumes have not been heard by this reviewer, but, if this is an indication of what might be there, it may be worth adding them to your radar.