Time for a review of classical CDs that were outstanding in 2014 . My lists for the previous years: 2014, 2013, 2012, 2011, (2011 – “Almost”), 2010, (2010 – “Almost”), 2009, (2009 – “Almost”), 2008, (2008 - "Almost") 2007, 2006, 2005, 2004.
# 8 - New Release
SPIN CYCLE, Afiara String Quartet feat. Skratch Bastid, Centrediscs
SPINCYCLE Afiara Quartet feat. Skratch Bastid (Centrediscs) |
# 8 – Reissue
W.A.Mozart, Piano Concertos, Rudolf Buchbinder (piano, conductor), René Jacobs, Vienna Symphony Orchestra, Profil Hänssler
Wolfgang Amadé Mozart, Piano Concertos Vienna SO / Rudolf Buchbinder (Profil Hänssler) |
Pianist Rudolf Buchbinder is respected worldwide; in his hometown Vienna he is worshiped. Sometimes predictable, hardly electrifying, occasionally stupendous, I find him so-so on average. But in these live recordings from Vienna’s Konzerthaus (re-re-released), where he plays and directs the Vienna Symphony Orchestra in the complete Mozart piano concertos, he achieves something extraordinary. With understated, classical demeanor, a no-nonsense touch, total lack of indulgence, he achieves a consistency and quality across all 21 works. Silliness about “the best” aside, this certainly sets a standard, not the least because the orchestra eats out of his hand. Don’t make mistake this for the frankly-boring single disc Mozart-concerto collaboration with Harnoncourt (Sony). This is simple geniality, not forced pseudo-historical vigor. While slightly space-saving over the predecessor and conveniently cheap, the presentation is a real bummer: two thick, clunky jewel cases and zero-information booklets. ☹
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Hello!
ReplyDeleteHow would you describe Buchbinder's approach: is it old-fashioned, or aware of period practices - similar to what Tetzlaff and Zinman are in Beethoven's violin concerto? Knowing Buchbinder, I would guess the later.
Thank you!
His approach to which? The new Mozart with Harnoncourt or the one I listed with the VSO?
ReplyDeleteIn either case it's decidedly NOT a la Tetzlaff and in LvB. Buchbinder is aware of period practices, I'll grant that, and perhaps it is that which inoculates him against Karl Boehmisms (were he prone to that at all), but I think it's more his deep involvement with Haydn that shines through this Mozart cycle. It's not consciously anything, style-wise... it's certainly not particularly (much less ostentatiously) "new". It's just bloody good and genial. You could call it old fashioned, but only in the sense that it isn't HIP or trying to be. But it is small scale (for the time) and nimble.