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Mozart
Piano Concertos KV453 and KV466 Scottish Chamber Orchestra Piotr Anderszewski - piano & direction |
Mozart
Piano Concertos KV453 and KV466
Scottish Chamber Orchestra
Piotr Anderszewski - piano & direction
Piano Concertos KV453 and KV466
Scottish Chamber Orchestra
Piotr Anderszewski - piano & direction
Piano Concerto No 20 in D minor KV466
1 I Allegro 15.00
2 II Romanze 8.02
3 III Rondo (Allegro assai) 7.46
Piano Concerto No 17 in G major KV453
4 I Allegro 12.11
5 II Andante 11.27
6 III Allegretto 7.48
62.44
1 I Allegro 15.00
2 II Romanze 8.02
3 III Rondo (Allegro assai) 7.46
Piano Concerto No 17 in G major KV453
4 I Allegro 12.11
5 II Andante 11.27
6 III Allegretto 7.48
62.44
BBC Music Magazine (March 2006)
What immediately impresses about these performances is not only the limipidness and unpretentious expressive quality of Anderszewski's playing, but also the care he's obviously lavished on orchestral detail - beautifully realised by the Scottish Chamber Orchestra. (...) Not to be missed.
(five stars)
What immediately impresses about these performances is not only the limipidness and unpretentious expressive quality of Anderszewski's playing, but also the care he's obviously lavished on orchestral detail - beautifully realised by the Scottish Chamber Orchestra. (...) Not to be missed.
(five stars)
Daily Telegraph (Apr. 2006)
Anderszewski does not short-change the drama of the D minor, whether in the barnstorming climax of the first movement's development, or in his explosive account of Beethoven's cadenza. But these lucid, superbly articulate performances are even more remarkable for the beauty and subtlety of his soft playing. He is also keenly alive to the operatic nature of Mozart's inspiration. In close collusion with the woodwind, Anderszewski responds vividly to the kaleidoscopic shifts of mood in the G major's opening movement, while few pianists have equalled his introspective poetry and bold dramatic contrasts in the wonderful andante.
Anderszewski does not short-change the drama of the D minor, whether in the barnstorming climax of the first movement's development, or in his explosive account of Beethoven's cadenza. But these lucid, superbly articulate performances are even more remarkable for the beauty and subtlety of his soft playing. He is also keenly alive to the operatic nature of Mozart's inspiration. In close collusion with the woodwind, Anderszewski responds vividly to the kaleidoscopic shifts of mood in the G major's opening movement, while few pianists have equalled his introspective poetry and bold dramatic contrasts in the wonderful andante.
Der Spiegel (Jan. 2006)
Lässte das Jubiläum noch Raum für Entdeckungen? Piotr Anderszewski, der versonnene Tastenpoet, hat es wieder geschafft: Nicht intellektuell-raffiniert wie dürzlich sein Kollege Pierre-Laurent Aimard, sondern durch Konzentration auf reinen Klang, stilkundige Auszierungen und einen wunderbar singenden Anschlag trifft er traumsicher Mozarts Ton - und überträgt diese Magie auf das Scottish Chamber Orchestra, das er vom Flügel aus dirigiert.
Lässte das Jubiläum noch Raum für Entdeckungen? Piotr Anderszewski, der versonnene Tastenpoet, hat es wieder geschafft: Nicht intellektuell-raffiniert wie dürzlich sein Kollege Pierre-Laurent Aimard, sondern durch Konzentration auf reinen Klang, stilkundige Auszierungen und einen wunderbar singenden Anschlag trifft er traumsicher Mozarts Ton - und überträgt diese Magie auf das Scottish Chamber Orchestra, das er vom Flügel aus dirigiert.
Libération (May 2006)
Ceux qui pariaient il y a dix ans sur Piotr Anderszewski peuvent se réjouir. A 36 ans, après s'être imposé aussi bien dans Bach et Haydn que Chopin et Szymanowski, le pianiste franco-polonais vient de livrer un deuxième disque de concertos de Mozart pour Virgin Classics littéralement fantastique. Rigueur et imagination, virtuosité implacable et expressivité folle, sont plus que jamais au service du compositeur dont Anderszewski dirige, depuis le piano, les oeuvres, dans un souci de dramatisation puissante et de franche vocalité qui touche au coeur.
Ceux qui pariaient il y a dix ans sur Piotr Anderszewski peuvent se réjouir. A 36 ans, après s'être imposé aussi bien dans Bach et Haydn que Chopin et Szymanowski, le pianiste franco-polonais vient de livrer un deuxième disque de concertos de Mozart pour Virgin Classics littéralement fantastique. Rigueur et imagination, virtuosité implacable et expressivité folle, sont plus que jamais au service du compositeur dont Anderszewski dirige, depuis le piano, les oeuvres, dans un souci de dramatisation puissante et de franche vocalité qui touche au coeur.
Los Angeles Times (Feb. 2006)
These elegant, unblemished performances of two of the composer's most significant piano concertos - the songful G major, K453, and the stoic D minor, K466 - are models of style, polish and containment. Anderszewski is an articulate pianist who caresses details yet always maintains transparency and balance. His impeccable technique and musical astuteness let Mozart's music speak for itself. The orchestra plays splendidly.
These elegant, unblemished performances of two of the composer's most significant piano concertos - the songful G major, K453, and the stoic D minor, K466 - are models of style, polish and containment. Anderszewski is an articulate pianist who caresses details yet always maintains transparency and balance. His impeccable technique and musical astuteness let Mozart's music speak for itself. The orchestra plays splendidly.
New York Times (March 2006)
An engrossing new Virgin Classics recording of two Mozart piano concertos with the Scottish Chamber Orchestra. (...) The Concerto No 20 in D minor, one of only two Mozart concertos in a minor key, is a grimly dramatic work. Yet there is great elegance beneath the sturm und drang surface. Mr Anderszewski's cagey and entrancing performance captures the work's elusiveness. (...)
The recording also offers a spirited and gentle-natured account of Mozart's Concerto No 17 in G. Though Mr Anderszewski plays with uncanny clarity, wondrous varieties of touch and, in the finale (a theme and variations), impish humor, he finds a wistful ambiguity in this music that eludes many other pianists. The musicians of the Scottish Chamber Orchestra seem to be inspired by this collaboration.
An engrossing new Virgin Classics recording of two Mozart piano concertos with the Scottish Chamber Orchestra. (...) The Concerto No 20 in D minor, one of only two Mozart concertos in a minor key, is a grimly dramatic work. Yet there is great elegance beneath the sturm und drang surface. Mr Anderszewski's cagey and entrancing performance captures the work's elusiveness. (...)
The recording also offers a spirited and gentle-natured account of Mozart's Concerto No 17 in G. Though Mr Anderszewski plays with uncanny clarity, wondrous varieties of touch and, in the finale (a theme and variations), impish humor, he finds a wistful ambiguity in this music that eludes many other pianists. The musicians of the Scottish Chamber Orchestra seem to be inspired by this collaboration.
Piano News (Feb. 2006)
Ein grossartig energischer wie klarer, ein wuchtiger wie hochgespannter Mozart mit Piotr Anderszewski als Solist und Leiter des Scottish Chamber Orchestra. Die Kunst des 'classical swing', will sagen der feindosierten Abfederung von Druck und Gegendruck, gelingt hier auf besonders überzeugende Art. Jede Orchesterstimme tritt hervot, wieder zurück und vermischt sich in abertausend Farben mit den übrigen. Dazu perlt Anderszewski in perfekter Präzision über die Tasten. Mozarts Klavierkonzerten wird hier schon in den kleinsten Abschnitten eine Dramatik abgewonnen, die viel zu oft weichgespült worden ist. Anderszewski und sein Orchester bekennen sich dazu.
Ein grossartig energischer wie klarer, ein wuchtiger wie hochgespannter Mozart mit Piotr Anderszewski als Solist und Leiter des Scottish Chamber Orchestra. Die Kunst des 'classical swing', will sagen der feindosierten Abfederung von Druck und Gegendruck, gelingt hier auf besonders überzeugende Art. Jede Orchesterstimme tritt hervot, wieder zurück und vermischt sich in abertausend Farben mit den übrigen. Dazu perlt Anderszewski in perfekter Präzision über die Tasten. Mozarts Klavierkonzerten wird hier schon in den kleinsten Abschnitten eine Dramatik abgewonnen, die viel zu oft weichgespült worden ist. Anderszewski und sein Orchester bekennen sich dazu.
Télérama (May 2006)
Quatre ans après un premier CD de concertos pour piano de Mozart qui nous avait séduit, le pianiste polonais Piotr Anderszewski récidive: nouveau coup de maître dans le même répertoire, toujours sous le double étendard de chef et de soliste, mais à la tête d'une nouvelle garde rapprochée les membres du Scottish Chamber Orchestra. Habituée à la direction châtiée de sir Charles Mackerras, cette formation aguerrie n'attendait qu'un trublion comme Piotr Anderszewski pour se réveiller, et s'aventurer dans des partis pris dérangeants et risqués. Car c'est à nouveau un Mozart de combat, inquiet et insurgé, que met en scène le pianiste polonais.
Quatre ans après un premier CD de concertos pour piano de Mozart qui nous avait séduit, le pianiste polonais Piotr Anderszewski récidive: nouveau coup de maître dans le même répertoire, toujours sous le double étendard de chef et de soliste, mais à la tête d'une nouvelle garde rapprochée les membres du Scottish Chamber Orchestra. Habituée à la direction châtiée de sir Charles Mackerras, cette formation aguerrie n'attendait qu'un trublion comme Piotr Anderszewski pour se réveiller, et s'aventurer dans des partis pris dérangeants et risqués. Car c'est à nouveau un Mozart de combat, inquiet et insurgé, que met en scène le pianiste polonais.
The Gramophone (Apr. 2006)
Mozart performed the K466 Concerto at the Mehlgrube Casino on February 11, 1785. It is hard to imagine what the Viennese made of its dark, brooding D minor opening. Piotr Anderszewski superbly captures the uneasy mingling of melancholic passion and revolutionary fervour. This dynamic and impressively balanced performance is full of powerful arguments and emotional pressure.
Mozart is known to have played the Concerto No 17 in a concert on February 13, 1785 (...). Anderszewski's navigation of the piano is articulate, bold and beautiful. His direction is admirably paced, although one imagines that these transparent textures have benefited from the orchestra's lessons in period style from Sir Charles Mackerras: clean-toned strings, precise timpani and brass, and eloquent woodwind flourishes contribute plenty to this attractive disc.
Mozart performed the K466 Concerto at the Mehlgrube Casino on February 11, 1785. It is hard to imagine what the Viennese made of its dark, brooding D minor opening. Piotr Anderszewski superbly captures the uneasy mingling of melancholic passion and revolutionary fervour. This dynamic and impressively balanced performance is full of powerful arguments and emotional pressure.
Mozart is known to have played the Concerto No 17 in a concert on February 13, 1785 (...). Anderszewski's navigation of the piano is articulate, bold and beautiful. His direction is admirably paced, although one imagines that these transparent textures have benefited from the orchestra's lessons in period style from Sir Charles Mackerras: clean-toned strings, precise timpani and brass, and eloquent woodwind flourishes contribute plenty to this attractive disc.
The Guardian (Feb. 2006)
It is four years since Piotr Anderszewski released his first disc of Mozart concertos, the C major K467 and C minor K491. In those recordings, he directed the Sinfonia Varsovia as well as playing the solo part and he does the same on this follow-up with the Scottish Chamber Orchestra. The result is alert, muscular orchestral playing, which creates the perfect foil for Anderszewski's lucid interpretations.
In both these concertos everything is perfectly in proportion; the drama is never over-played in the D minor, while the slow movement of the G major is made that concerto's emotional heart, with the rapt directness of the solo playing overlaid with the woodwind tracery. In the G major concerto, Anderszewski uses Mozart's own cadenzas; for the D minor work, he plays Beethoven's increasingly explosive cadenza for the first movement and in the finale he uses his own, which tilts the work even more decisively towards the 19th century.
It is four years since Piotr Anderszewski released his first disc of Mozart concertos, the C major K467 and C minor K491. In those recordings, he directed the Sinfonia Varsovia as well as playing the solo part and he does the same on this follow-up with the Scottish Chamber Orchestra. The result is alert, muscular orchestral playing, which creates the perfect foil for Anderszewski's lucid interpretations.
In both these concertos everything is perfectly in proportion; the drama is never over-played in the D minor, while the slow movement of the G major is made that concerto's emotional heart, with the rapt directness of the solo playing overlaid with the woodwind tracery. In the G major concerto, Anderszewski uses Mozart's own cadenzas; for the D minor work, he plays Beethoven's increasingly explosive cadenza for the first movement and in the finale he uses his own, which tilts the work even more decisively towards the 19th century.
The Observer (Feb. 2006)
Mozart's 250th birthday party continues with a slew of new releases, of which this is one of the most distinguished. Directing the Scottish Chamber orchestra from the keyboard, Piotr Anderszewski takes the chance to bring out the operatic qualities of two of Mozart's mature masterpieces, wringing as much panache from these fine players as his own remarkable technique.
Mozart's 250th birthday party continues with a slew of new releases, of which this is one of the most distinguished. Directing the Scottish Chamber orchestra from the keyboard, Piotr Anderszewski takes the chance to bring out the operatic qualities of two of Mozart's mature masterpieces, wringing as much panache from these fine players as his own remarkable technique.