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Beethoven: Piano Concerto Op 61a; Mozart / Peter Serkin
*** This title is a reissue of a Japanese release with liner notes in Japanese. ***
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
*** This title is a reissue of a Japanese release with liner notes in Japanese. ***
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
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Original: $17.99
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*** This title is a reissue of a Japanese release with liner notes in Japanese. ***
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
Beethoven expended little effort over arranging his Violin Concerto for piano. He left the orchestration intact, reproduced the solo part more or less verbatim, and added just enough left-hand accompaniment to keep the soloist interested. Although he didn't provide cadenzas for the violinist, Beethoven left the pianist four from which to choose, including a wild fantasia that culminates in petulant exchanges between piano and timpani. Perhaps this concoction always will remain a curio, yet a few recent recordings elevate Op. 61a to a genuine work of stature--most notably the stylish, virile, and committed Suk/Baley (TNC) and Berezovsky/Dausgaard (Simax). So does this remarkable 1969 Peter Serkin/Seiji Ozawa collaboration, but in a completely different manner.
They consistently emphasize breadth and lyricism, and justify their uncommonly slow first-movement tempo by virtue of focused, impeccably accented phrasing that is rhythmically precise yet so vibrant and full-bodied that nothing ever sounds static or rigid. Certainly the robust sonics help, along with the New Philharmonia Orchestra's warm, responsive, and songful execution. It's all too easy for a pianist to reduce the sparse piano writing to surface tinkling, yet even Serkin's most delicate nuances and rounded cadences convey firmness and a sure sense of direction--all the more reason to welcome ArkivMusic.com's on-demand reissue of this long overlooked and underrated recording in a rare Japanese RCA reprint. You can obtain it coupled with the Serkin/Ozawa Schoenberg Piano Concerto, or as here: alongside the pianist's sparkling, cultured, and wittily nuanced Mozart F major K. 459 concerto, featuring like-minded support from the English Chamber Orchestra under Alexander Schneider's shapely and sensitive direction. Booklet notes are in Japanese only, but given such revelatory music making, who cares?
--Jed Distler, ClassicsToday.com
