This
new integral of the Concertos for piano of Mozart who clamp being “the first
supplements off recording Mozart's work for keyboard and orchestrated performed
one original instruments” - in spite of Immerseel, Bilson-Gardiner and Levin-Hogwood
- us arrives from Poland. The claim holds at the very least of the chipotage,
others being attacked with “truths” concertos and not with the partitions carried
out by Mozart child starting from sonatas of other type-setters. In this last
category the four first (K line up. 37, 39, 40, 41) concertos of an eleven year
old Mozart and three adaptations of sonatas of Johann Christian Bach, compiled
by the small boy two years before for harpsichord, two violins and low (lives
the orchestra!). Nobody will blame the predecessors of the Sofronitzki-Karolak
tandem not to have held account of it.At all events, we hold a beautiful object there, a large and “classieux” brown red box whose qualities and limits are very clear. In my eyes a parallel with the integral Haydn d' Adam Fischer recorded in Eisenstadt is essential. As in Adam Fischer, the party taken sound prevents from tasting the musical achievement fully. At Fischer in Haydn, it was the outrageous reverberation of the room of pageantry of the castle which obstructed. Here, it is very astonishing that technical parameters come at this the right moment to interfere in the collectings made in a “studio in concert”. Certain recordings - those of volumes 1 to 4 - are carried out in the concert hall of the Academy of music of Warsaw: they sound incommensurably better (beaches 6 and 7 of volume 3 allow a direct comparison). But in the 2/3 of the integral, the sound of the orchestra appears large and especially, alas, coloured on the winds (horns!).
One will add to that of the assemblies sometimes not very discrete (e.g. to 2 ' 20 of the introduction of the 27e Concerto) and an inconsistency into the sound climate of the 25e Concerto enters movements 1 and 3, with the sound more open than 2nd. The orchestral image is, in fact, in the majority of collectings, enough thick, whereas the crenel in which could have imposed the integral of this remarkable pianofortist was that of the intimism in a roomy space: only the Concertos n° 9, 11, 12, 13, 14, 15, 19, 21, 25 and 26 profit from this equation. Modesty, imposed by the seventeen played old cords sensa vibrato (and with sound attractions lower than the best European phalanges), y is an invaluable asset. The integral suffers elsewhere from the will to give to the orchestra a stoutness which it does not have.
It is a pity, because the feast pianofortist is of first order, with an extremely advised choice of the instrument: a sublime McNulty copy of a Walter pianoforte of 1795. The early works are interpreted on a harpsichord, quite as beautiful. Viviana Sofronitzki (the girl of large Vladimir, that it did not have, alas, to know much, since it is deceased in 1961), who shares apparently his life between Germany and Canada, was formed in piano in Moscow, rubbed with the practice of the old instruments in the United States, in Toronto and The Hague.This familiarity with the instruments is perceived well insofar as Viviana Sofronitzki exploits its pianoforte with full capacity in a swift play, fluid, detached and clearly articulated, who avoids any romantic temptation.One will be able to thus judge that the slow movement of the 23e passes beside the tension incarnated by the tonality of minor F sharp. But the integral is of an infallible logic, with discrete ornamentations and right rates.
A beautiful musical achievement, with the know-evoked reserves. If you are interested and do not find this box in your country: to see www.earlypiano.de
--
Christophe Huss
Directeur - CLASSICSTODAY-FRANCE
Journaliste musical - LE DEVOIR
2338 rue des Parulines
LAVAL, Quйbec H7L 4Y8
CANADA
Tйl. + 1 (450) 622 00 27
chuss@classicstoday.com