As Lindsay Kemp
points out in his accompanying notes to this release the key
of B flat major was for Mozart one of happiness. This is readily
reflected in the readings given here by Aimard and the Chamber
Orchestra of Europe of three of the four Mozart wrote in this
key.
As ever with Aimard
there is scrupulous preparation and intelligence in the phrasing
of the piano part, but not having heard him in the role of director
before I was interested in how he might approach this. Wisely,
perhaps, the COE was chosen as Aimard has previously worked
with them (Beethoven concerti with Harnoncourt), so at least
there was some common ground to work from. The COE also have
a history on disc and in concert of working soloist-directors,
a key point as these recordings derive from live performances.
My findings were that his direction, whilst not standing out
for the wrong reasons, made its points gently felt. He feels
the genial wit within the works and does not make them into
something they are not. All three concerti fare well orchestrally:
with K.238 the opening is full, however things almost immediately
get turned down a notch or two. In fact, my one real complaint
about the orchestra can be attributed to the recording that
makes them at times a little too distant. Whilst there are nice
things particularly in the brass and woodwind phrasing, overall
I could have done with the merest touch more presence and body
throughout.
All of which might
leave the impression that these are performances in which the
piano takes centre stage, which it does, yet it never hogs the
limelight unduly. The articulation is lithe, crisp and makes
much in an understated way of the internal dynamics that the
soloist’s part contains in all three works. Aimard, whilst
not averse to letting the music have its natural flow, pushes
things along reasonably with resolutely modern ears without
sacrificing the role of dynamic pauses. That said he too has
the sense to let Mozart’s ability to surprise emerge – the minor
key episode of the K.238 opening movement development, for example.
Where timings are
concerned K.595 comes in mid way between Haskil and Fricsay’s
29’24” and Gilels and Böhm’s 32’59”, and as a whole the performance
might be taken as a medium course between the two other styles
of interpretations. Only in the Larghetto does Aimard suggest
anything like as much “nostalgic introspection” (Kemp’s phrase)
as Gilels, but he is not as indulgent about it.
Whatever your preferences
when it comes to Mozart concerti, these are intelligent performances
well given and are sure to offer pleasure. Now I think of it,
has Aimard ever recorded a disc that didn’t offer ample rewards
for the listener? Not that I am aware of.
Evan Dickerson
Chamber Orchestra
of Europe/Pierre-Laurent Aimard (piano and director)
