Mozart: Piano Concerto 26 & 27

 

Much like Beethoven's Symphony no. 8 in F Major, Mozart bends to a smaller scale and simpler settings in his last two concertos.

I don't think I would call either of these my favorite of the Austrian master's piano concertos, but one can hardly argue with their grace and beauty.

In Piano Concerto no. 26 in D Major, subtitled 'Coronation', I am surprised by how much solo right-hand piano writing there is, leaving the left hand out altogether. It is not typical of the composer, but I also know in the later concertos, Mozart didn't feel the need to write everything out.

There are two solo piano moments in the first movement which befuddle me harmonically, the second a return appearance of the first. The middle movement is unusually simple sounding, but as I heard from choral master Philip Brunelle recently, it is difficult to write simply without losing a listener's attention or verge on mono-thematicism and sing-songy qualities. Mozart avoids both with mastery. The final movement is again more elegant than manic, although the finger-work is always a blur in these portions, and I increasingly find more personality upon repeated listenings.

In an unusual choice, Zacharias adds music-box bells to one of his cadenzas. The pianist is well known for his crazy ideas about what can be added to Mozart's music, (listen to his Piano Sonata set), but this one works pretty well, even if it remains a rather odd choice.

Again, I can think of no finer recording than the one on review from David Zinman with the Bavarian Radio Symphony Orchestra. He and Christian Zacharias have a thorough view on how Mozart should be played and heard, one which appeals greatly to this listener.

Mozart's final concerto is here supported by Günter Wand leading the North German Radio Symphony Orchestra. As with their performance of Mozart's Piano Concerto no. 24 (BLOG), this is the pinnacle of Zacharias' set of piano concertos.

Yet in K. 491 comparatively, there is more apparent opportunity for drama and spirituality. Here in K. 595, Mozart is at his most subtle, especially considering its late compositional date. Again, elegance and simplicity rule over this concerto, where Zacharias and Wand give no more than what Mozart asks, other than a full, modern orchestral depth.

The first movement of Piano Concerto no. 27 is the definition of Classical Era repose and gentility. Only, the briefest of minor-keyed jaunts add the tiniest bit of shade, while some laughing string and piano figures offer some levity. The middle movement continues a gentle songfulness with nary a hint of insincerity, a special gift of Mozart's compositions.

The final movement has a light little swing to it, where pert charm is at the forefront. Mozart has pared back the number of winds in this concerto, but here in the third movement is where their interactions are at their most affable.

Christian Zacharias is a little more giving with piano embellishments in these last concertos. I find them all rather tasteful, but I know some will want just what Mozart wrote; some may be surprised to know Mozart regularly improvised at the keyboard as well, so Zacharias' ornaments have their place.

As before, I love the NDR Orchestra here. They have a full, plush sound, giving Mozart's music some body. The composer never used pizzicato as much as he allows here, but the effect is given decent amplitude on this recording.

There are some classic recordings of these last two concertos - Emil Gilels with Bohm as well as Ingrid Haebler, but fear not investing in Zacharias and Wand, for the two do special work as well.

As I wrap up Zacharias' set of Mozart's piano concertos, I usually have a feeling of anticlimax with these last two concertos. Yet, I am never bored as can be the case elsewhere, so perhaps that is the gift here - life given within simplicity and beauty.

 

 

 

 

Works
Piano Concerto 26 in D Major, K. 537 (32.18)
Piano Concerto 27 in B-flat Major, K. 595 (30.56)

Soloists
Christian Zacharias, piano

Performers
Bavarian Radio Symphony Orchestra
    David Zinman, conductor
North German Radio Symphony Orchestra
    Günter Wand, conductor

Label: EMI
Year: 1986

 

 

 

 

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