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Mozart Legendary Interpretations - Robert Casadesus
Of these four Mozart [Sony Legendary Interpretations] sets, pride of place must go to the Robert Casadesus recordings of the late piano concertos—Nos. 21-3, 24, 26 and 27 plus the Double Concerto in E flat, in which he is joined by Gaby Casadesus (Eugene Ormandy and the Philadelphia accompany here). The 1960 recording of the Double Concerto, made in New York's Manhattan Center, is rather dry and doesn't help the music-making to smile, although the playing itself undoubtedly has its insights. The solo concertos were recorded in Severance Hall, Cleveland between 1959 (No. 22) and 1962 (Nos. 26-7) and the venue adds enough ambience to the forward balance to make it convincing. Indeed, the piano integrates well, even if tuttis are on a larger scale than would be expected today. George Szell conducts accompaniments that are very polished and lively. The orchestral credit is shared between members of the Cleveland Orchestra (No. 21), the Columbia Symphony Orchestra (Nos. 22-3 and 26-7) and the 'full' Cleveland (No. 24).
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
Of these four Mozart [Sony Legendary Interpretations] sets, pride of place must go to the Robert Casadesus recordings of the late piano concertos—Nos. 21-3, 24, 26 and 27 plus the Double Concerto in E flat, in which he is joined by Gaby Casadesus (Eugene Ormandy and the Philadelphia accompany here). The 1960 recording of the Double Concerto, made in New York's Manhattan Center, is rather dry and doesn't help the music-making to smile, although the playing itself undoubtedly has its insights. The solo concertos were recorded in Severance Hall, Cleveland between 1959 (No. 22) and 1962 (Nos. 26-7) and the venue adds enough ambience to the forward balance to make it convincing. Indeed, the piano integrates well, even if tuttis are on a larger scale than would be expected today. George Szell conducts accompaniments that are very polished and lively. The orchestral credit is shared between members of the Cleveland Orchestra (No. 21), the Columbia Symphony Orchestra (Nos. 22-3 and 26-7) and the 'full' Cleveland (No. 24).
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
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Mozart Legendary Interpretations - Robert Casadesus—
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Description
Of these four Mozart [Sony Legendary Interpretations] sets, pride of place must go to the Robert Casadesus recordings of the late piano concertos—Nos. 21-3, 24, 26 and 27 plus the Double Concerto in E flat, in which he is joined by Gaby Casadesus (Eugene Ormandy and the Philadelphia accompany here). The 1960 recording of the Double Concerto, made in New York's Manhattan Center, is rather dry and doesn't help the music-making to smile, although the playing itself undoubtedly has its insights. The solo concertos were recorded in Severance Hall, Cleveland between 1959 (No. 22) and 1962 (Nos. 26-7) and the venue adds enough ambience to the forward balance to make it convincing. Indeed, the piano integrates well, even if tuttis are on a larger scale than would be expected today. George Szell conducts accompaniments that are very polished and lively. The orchestral credit is shared between members of the Cleveland Orchestra (No. 21), the Columbia Symphony Orchestra (Nos. 22-3 and 26-7) and the 'full' Cleveland (No. 24).
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.
-- Gramophone [9/1991]
----------------------------------
The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.
-- Penguin Guide [2003/2004]
