Claudio Abbado and his hand-picked Orchestra Mozart have become famous for their exceptional recordings of music by their namesake, but to assume every work in their repertoire has a Koechel number attached to it would be a mistake. For this 2012 release, it demonstrates a great aptitude for the violin concertos of Ludwig van Beethoven and Alban Berg, and the playing is every bit as convincing as the treatment of Mozart's oeuvre.
In February 2001 the Berliner Philharmoniker and Claudio Abbado were guests at the Accademia Nazionale di Santa Cecilia in Rome with all Beethoven symphonies. Their success was overwhelming with standing ovations after each performance. “Abbado, a Furtwängler admirer in principle, seems ever more Italian, his tauter lyricism allied to a sense of forward movement influenced, we are told, by period practice. The surprise is not the Mediterranean luminosity and scrupulous attention to instrumental detail - one expects nothing less from this source - but the animating sense of line. The Seventh Symphony… knows precisely where it's going and why… The sense of joy present throughout is overwhelming by the close.” - Gramophone Magazine.
Living legend of the piano Murray Perahia records two benchmark sonatas by Beethoven for the first time in his career. Long renowned for his performances of this composer, Perahia’s brand new recording pairs together two of the most radically ground-breaking of Beethoven’s 32 piano sonatas, in a release that is sure to be a crown jewel of the Beethoven discography.
This generous coupling of Brahms’s two concertos for stringed instruments has become relatively common in the age of CD thanks to compilations like the Philips disc of Szeryng and Starker‚ analogue recordings dating from the early 1970s. Modern digital recordings expressly designed for issue in coupling are much rarer‚ the Teldec issue of Kremer and Clemens Hagen being the most notable one.
It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.
Recorded live at a concert in the large hall of the Musikverein in Vienna in November 1991, this performance of Verdi’s dramatic Requiem is really commanding. The Vienna Philharmonic Orchestra and the chorus of the Vienna State Opera respond appropriately to Abbado’s exciting but not over-operatic handling of the work, and the recording is admirably clear. The soloists are a fine and well-matched quartet.