Search - Wolfgang Amadeus Mozart, Nicholas McGegan, Philharmonia Baroque Orchestra :: Mozart: Piano Concertos

Completely adorable

Sanja Kostic | mirro | 10/08/2006

(5 out of 5 stars)

"Three years ago, I was looking for some bargain price Mozart concertos and run into Melvyn Tan, and Philharmonia Orchestra leading by Nicholas McGegan. Ever since, my judgment and musical taste had dramatically twisted. I took off a heavy load of all famous stars and their commercial, and sweet interpretations of Mozart such as Brandel, Ushida, Perahia, Serkin ...yuck!; and I opened a new chapter looking for authentic music engaging instruments that composers had in mind. These somehow fit the suit, still depending on a conductor and his finest nuance and immense knowledge of style. So, I come to the point that only few among thousands recordings are acceptable, and this one is the first in now extended collection of authentic recordings and MP3's.

Let's begin. McGegan has strong affinity towards Mozart's music and his correlation with Lowell Greer, an early horn virtuoso, results in the best recording of Mozart horn concertos and rondos, ever!!! So, regarding that, it is not pure coincidence that these piano concertos are so brilliant and lovely. Orchestra is charming: sections, soloists and together are very playful and responsive. All dynamic and tempos changes are delicate and stylish. They communicate lovely with keyboard. Melvyn Tan most likely makes here his historical recording. McGegan seems to make Tan, the choice of the day. Actually, I am strongly convinced that complete music and all technical and stylistic details here largely depend on McGegan's deep and intimate understanding of Mozart, his time and work. No detail is left undisclosed: perfect expositions of themes; clear and underlined of developments and perfect balance between fortepiano and orchestra through beautiful dialogues and repetitions. These are just some treasures, but totally adorable is detail in the 2nd movement of B-dur concerto when piano, after orchestral introduction, repeats the same and concludes in arpeggio chord which makes me burst in tears...well, that's Mozart. Ever thanks for this music Mr. McGegan!



A great respect to McGegan's interpretation made me write a short comment and, I hope, it will help new audience buy this CD. As my English is still on the go and in school development, I would express my impression in short: This is beautiful, highly imaginative interpretation that thrills even complete music charlatan, as myself.

Mirro

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