In the summer of 1781 Mozart described his new home Vienna as "the land of the piano". He soon set about presenting his own subscription concerts, offering the three newly-composed concertos on this disc for publication "either with a large orchestra or a quattro". The latter, more intimate versions of these charming works are performed here by Robert Blocker, Dean of Music and Professor of Piano at Yale University, and the youthful Biava Quartet, winners of the Naumburg Chamber Music Award and top prizes at the Premio Borciani and London International Competitions.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.
One hates to admit it, but at this point in his career, pianist Maurizio Pollini is no longer a Mozart player. Although a supreme virtuoso, a passionate intellectual, and a consummate artist, Pollini has grown too brilliant, too intense, and too calculating for Mozart. Pollini's tone is crystalline, his textures are transparent and his tempos are perfect in this breathtaking 2005 recording of the G major and C major piano concertos, but it all seems too cold and too objective. Although he is also directing the Wiener Philharmoniker from the piano, this doesn't seem to encumber Pollini's virtuosity in any way; indeed, he appears to enjoy the challenge, audibly coaxing more force from the musicians' playing.