Notes and Editorial Reviews
MOZART
Piano Concertos: No. 22 in E?;
1
No. 25 in C
2
•
Paul Badura-Skoda (pn);
1
George Szell, cond; Concertgebouw O;
2
Horst Stein, cond; Vienna PO
•
MUSIC & ARTS 1254 (65:59) Live:
1
Amsterdam 12 /19–20/1959;
2
Vienna
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6/15/1978
These performances are separated by nearly two decades, and they do indeed sound different. The question is, to what degree are the differences a result of the change in the ensembles and conductors, or the stage of the soloist’s career, or both? I am inclined to give the benefit of doubt to Paul Badura-Skoda, one of the great classicists of our time, and an artist who plays wonderfully even as he ages (he was born in 1927), albeit with some subdued vigor and athleticism. Mozart’s Piano Concerto No. 25, perhaps the most grandiloquent creation in this format by the master, has a lengthy orchestral introduction, and so the conductor must set the pace and spirit of the piece. Horst Stein, to my ears, does not achieve a true
maestoso
flavor, with a somewhat flagging tempo and flaccid phrasing, despite the service of one of the world’s great orchestras, in this 1978 recording. Our gentlemanly soloist does not barge into this situation, but accedes to the direction of the conductor. It then almost seems as if Badura-Skoda takes over as the leader of the performance, as all involved are newly energized. The movement ends with far more energy than it started with, the slow movement is superbly playful, and the finale connects beautifully to Mozart’s buoyant energy.
George Szell, also at the helm of a great ensemble in this 1959 recording, seems to be a more simpatico partner for Badura-Skoda. The soloist is in his prime here, with playing of superb rhythmic awareness, bold yet elegant phrasing, and a generally keen sense for Mozart’s genius for theatrical construction. You could pretty much describe Szell’s leadership with similar words. This is a terrific performance, full of life, but bearing no strain. These guys
get
Mozart. The sound quality of the 1959 recording is noticeably dimmer than the 1978 one, but once the music-making starts, the ear adjusts, and there is nothing unduly distracting. Badura-Skoda remains a role model for modern Mozart playing, with few equals to this day, and none better.
FANFARE: Peter Burwasser
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Works on This Recording
1.
Concerto for Piano no 25 in C major, K 503 by Wolfgang Amadeus Mozart
Performer:
Paul Badura-Skoda (Piano)
Conductor:
Horst Stein
Orchestra/Ensemble:
Vienna Philharmonic Orchestra
Period: Classical
Written: 1786; Vienna, Austria
Date of Recording: Live 6/15/1978
2.
Concerto for Piano no 22 in E flat major, K 482 by Wolfgang Amadeus Mozart
Performer:
Paul Badura-Skoda (Piano)
Conductor:
George Szell
Orchestra/Ensemble:
Royal Concertgebouw Orchestra
Period: Classical
Written: 1785; Vienna, Austria
Date of Recording: Live 12/1959
Sound Samples
Piano Concerto No. 25 in C major, K. 503: I. Allegro maestoso
Piano Concerto No. 25 in C major, K. 503: II. Andante
Piano Concerto No. 25 in C major, K. 503: III. Allegretto
Piano Concerto No. 22 in E flat major, K. 482: I. Allegro
Piano Concerto No. 22 in E flat major, K. 482: II. Andante
Piano Concerto No. 22 in E flat major, K. 482: III. Allegro - Andante cantabile - Tempo I
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