Search - Wolfgang Amadeus Mozart, Chamber Orchestra of Europe, Pierre-Laurent Aimard :: Mozart: Piano Concertos 6, 15 & 27

There are better ones out there

jgri | New York, NY, USA | 12/22/2005

(2 out of 5 stars)

"I guess it all depends on what you are used to. I have the complete set of Mozart's piano concertos with Brendel/Marriner and some of the Perahia recordings. Compared with those I found this interpretation lacking finesse and spirit. I missed the differential and almost spiderweb-like lightness of Perahia's and also Bendel's keystroke, and Marriners or Perahias conducting seems for my ears to be more interesting as well. Certainly, this is a fine recording with no technical flaws - however, I found it uninspired and partially even boring (which you might consider a major flaw). As conclusion - I think there are better recordings out there."

Good if somewhat conflicted Mozart by Aimard

klavierspiel | TX, USA | 01/11/2006

(4 out of 5 stars)

"The French pianist Pierre-Laurent Aimard, renowned for his traversals of massive twentieth-century works feared even by virtuosi, among them Ravel's Gaspard de la Nuit, Ives' Concord Sonata and Messiaen's Vingt Regards, all of which he has committed to disc, here essays three of Mozart's four piano concertos in the key of B-flat major (K. 456 is not included). This is an appealing concept for a collection, in particular the inclusion of the elegant early work, K. 238, a bit on the surface compared to his mature works but with considerable charm, particularly as played here. K. 450 is early in the sequence of the great concertos of Mozart's maturity, and features one of the composer's most brilliant piano parts and highlighting of the orchestral winds, while K. 595, Mozart's final piano concerto, essays an intimacy of emotion and technique more often found in chamber music. Aimard of course is an impeccable technician, performing expressively as well as brilliantly when required. Although one never has the feeling he is condescending to this music in any way, occasionally the comparative sparseness of notes in Mozart seems to catch him short, especially in the eloquent slow movement of K. 595, where he overornaments some of the barer passages and overplays others. The Chamber Orchestra of Europe, which Aimard conducts as well, plays with a lightness and sparely applied vibrato in the strings which suggests a historical-style approach, unfortunately at odds with the very modern sound of the solo piano and the close recording acoustic."

If you haven't heard of him, you're missing something

sabnizta | OH, USA | 10/31/2005

(5 out of 5 stars)

"I always like Aimard's playing and sound ever since I saw him live a couple years back playing Beethoven. I am always impressed with his great tone quality, beautiful articulation and phrasing, non-explosive and yet passionate playing. His Appassionata is definitely the best I have ever heard, and some of his phrasing in it is just so delicious. So, when I saw this CD, I just picked it up without 2nd thought. He doesn't disappoint me as always, and everyone of those concertos is played with his quality, signature and fantastic sound. He never goes extra miles trying to get something out of Mozart or make something different. No, he just simply speak through Mozart's own music."