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Mozart Piano Concertos K.456 and K.466 - Richard Goode; Orpheus Chamber Orchestra

Posted By: waldstein

Date: 18 Sep 2009 13:19:51

Mozart Piano Concertos K.456 and K.466 - Richard Goode; Orpheus Chamber Orchestra

This is one of the most delightful recordings of Mozart piano concertos I've heard. It's curious, isn't it, how one can put on a new CD and within a few seconds recognize the presence of something exceptional – in this instance, even before the soloist has made his first entry. At the start of the D minor Concerto the quality leaps out at you, the urgency and thrust of the expression tightly in focus. Remember those versions where everyone seemed to be saying, 'yes, we know this famous piece'? This is different: generalized agitation is out, exactitude of character is the goal, and there is no gap between intention and achievement.
I'm not surprised at the excellence of Richard Goode's playing, but the quality of his collaboration with the Orpheus Chamber Orchestra is special: and the beautiful thing about Mozart performance of this calibre is that the two seem inseparable. Of course the freshness and placing of the detail are to be savoured, but it is the long view which holds and persuades. In the D minor Concerto's first movement the brilliant piano writing is so thrilling here because it's projected as being essential to the expression, not just a decoration of it. I particularly like the way Goode handles the three successive solo statements at the start of the development without slackening pace. They are subtly different in feeling, one from the other, and although he's not the first player to have noticed this, it's characteristic of his distinction to have kept the detail and the overview in balance.
Admirable, too, in the second movement is the way he sets off the stormy middle section as a strong contrast but not to the extent of making it sound as if it belonged in a different piece. The outer sections of this Romanze can disappoint: not here, where their chaste beauty is released by a tempo that is flowing and perfectly judged. Goode doesn't feel the need to ornament those solo passages which some players find too bare, and I'm very happy to have his unadorned political incorrectness. He plays his own cadenza in the finale, in place of Beethoven's. He has some good ideas about dynamics in this last movement, and the lightening of mood at the turn to the major key towards the end has rarely, in my experience, sounded such an inspiration – on Mozart's part, of course.
I enjoyed the B flat Concerto, K456 every bit as much. The outer movements are brisk and light on their feet, even balletic, but all the colours – and the shadows which pass over the face of the music – are there, just as one wants. Paciness makes for vivacity but never brittleness. At the end, you feel you have had glorious entertainment, and a discourse that has touched on the deepest things. I'm still slightly puzzled as to how Goode achieves so much while appearing to do so little – perhaps it's a question of being so focused, of keeping his eye on the ball! In this the orchestra match him, as they also match his spontaneity and relish for the task.
With a first-rate balance and quality of sound, here is a Mozart concerto record to transcend considerations of style and stance. I shall be surprised if I'm not still as enthusiastic about it in ten years' time. Never mind if you already have versions of these concertos – get these too."
Gramophone; April 1997

EAC

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007

EAC extraction logfile from 4. September 2008, 23:48

Richard Goode, Orpheus Chamber Orchestra / Mozart: Piano Concertos No. 18 & 20

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