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Mozart – Piano Concertos K271 and K503 – Alfred Brendel – Sir Charles Mackerras – Scottish Chamber Orchestra -Philips (2002) - SACD ISO

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Music : Classical : Lossless
       Mozart
– Piano Concertos K271 and K503 – Alfred Brendel – Sir Charles Mackerras – Scottish Chamber
Orchestra -Philips 470 616-2 (2002)

SACD rip via PS3 to iso (3.87 GB) | Classical

http://sa-cd.net/showtitle/59

Reviews from SA-CD.net:

By akiralx:

I
really got this for the Concerto No 9 K271 which I have preferred over many later and more famous Mozart concerti. While
Brendel’s reading here doesn’t replace my favourite performance (by Friedrich Gulda on Orfeo), it is
really excellent – in fact this SACD is enjoyable throughout, and given very fine sound.

The combined
ages of the 2 principal artists must be about 150 years, and I think you can tell that from the performances –
which is not to suggest at all that they are ponderous or overblown. It’s more a question of style: the
orchestral sound is rather fuller than I was expecting, but strikes a good balance between crispness of sound with fine
woodwind presence, and avoidance of thinness in the strings. Mackerras’ accompaniments reminded me rather of Karl
Boehm’s Mozart: full of wisdom and grandeur but without heaviness.

The acoustic (the pretty large
Usher Hall in Edinburgh) is generous, but the sound throughout is vivid and well focused, with the piano very well
integrated into the aural picture. Generally this will appeal to listeners who like a traditional approach to Mozart
piano concerti, but want to avoid too beefy an orchestral contribution.

One tiny caveat is that I would
perhaps have liked the timpani to be more present (perhaps played with harder sticks?) at various points, most
noticeably in K503’s opening ritornello – but they are clearly audible, and generally this SACD sounds
first-rate.

The ‘Jeunehomme’ concerto (K271) typifies Brendel’s approach: tempi are
fairly orthodox (certainly not particularly slow), although his playing of the central Andantino is quite romantic
– which is no bad thing when the playing of soloist and orchestra alike is so pleasing.

Similarly he
doesn’t set off like an express train in the brilliant finale (Gulda and others are faster here), so overall the
performance is thoroughly Mozartian and is generally relaxed. His choice of tempo (certainly not too slow) for the
finale also means that the lovely slower minuet episode half way through follows on naturally – other
performances, like Barenboim’s on EMI, rather fall down here as the change in tempo and mood sound rather
jarring.

The performance of No 25 K503 is actually rather Beethovenian, which seems correct to me for this
later work: the orchestral introduction is robust and Brendel’s entry is similarly dramatic. Throughout this work
the woodwind solos and string playing are really beautiful, and Brendel plays with an ideal combination of power and
crisp elegance, especially in the finale.

Sonically, this DSD recording is superb – as I have
mentioned the acoustic is fairly spacious but the presence of the performers is excellent, with a generous soundstage
and tangible depth to the image.

I only listened in multichannel, and give this very high marks for the
technical side of the recording. I can’t recall a piano concerto recording where the solo instrument sounded as
good as it does here. The performances are also excellent, so this SACD is very recommendable.

By
Julien:

After two excellent reviewers, I really don’t feel like writing two many details about the
music or the interpretation, and I’ll focus more on something I usually don’t write much about: the
recording quality.

The first thing I need to say is that my Cary player was being repaired for three weeks,
and having to listen to recordings on my Marantz 8400 resulted directly on me hardly listening to music, and definitely
not daring to write any reviews. This may not sound very nice for people who appreciate SACDs everyday on cheap players,
but there are a few reasons why I borrowed money for the expensive one.

And apart from everything everyone
knows, like deeper and wider soundstage, much more open sound, much more bass and detail etc, one aspect is not much
talked about, but influences judgment a lot: different systems have different presentations of a recording. OK, maybe we
all know that. For example, many of us have the experience of one player lacking bass and making some recordings sound
flat, or vice versa.

But it goes a lot deeper than that, the whole balance may change. I remember the sound
of Britten’s piano sounding like coming from another room compared to the very upfront cello of Rostropovitch in
their recording of the Arpeggione sonata, and having me thinking of how bad a choice that was, or about
Rostropovitch’s ego etc. Then I got the better player, and it literally revealed the recording. Very truthful,
with the piano placed behind like always on a stage, but sounding very natural. One of the best cello sonata recordings
ever.

This Mozart recording here is another recording I had forgotten in my shelves, remembering that
“it was OK”. But a few months ago I rediscovered it. And again two days ago, when my Cary player came back,
happy me listened to a lot of music. And among so many recordings, this one stood out. The whole is so lifelike, not
only the quality of the sound itself, but the precision of each instrument’s position is unbelievable, the
balance sounds perfect to me (who knows, maybe with a much better system I might notice a few more problems, and maybe
I’m being stupid with my racist-like player stories).

But what still strikes me the most actually is
the openness of the sound, combined with the presentation of the hall’s acoustics (multi-channel listeners here
will tell me that if I had listened to the mch version I wouldn’t write that, and maybe it’s true, but
this one is outstanding as a stereo mix anyway). Many old stereo recordings have that live-like quality of the
instruments or voices (sometimes due to close-miking or tubes), but usually you don’t hear the music
hall’s sound. And I’m also sometimes amazed at how the stereo mixes of some of the recent pure-DSD
recordings out there lack that openness, thinking “god, take that curtain away” or something like that.

To put it in a nutshell, and according to me at this time, this recording has it all. One of the closest to live
stereo recordings I own. Philips and Sony initiated SACD and truly made great recordings for it. 5 stars.

And
not only it is the very best recording artistry you can find, this is also not one of those great recording/second rate
performance combinations we used to see too much in the SACD world.

I had never heard the Scottish Chamber
Orchestra before, and according to this recording this is as good as an orchestra gets. The string section plays close
to perfect together (I want to say like the Alban Berg quartet…), and every single wind instrument player is so
talented! Of course, even if we always tell conductor jokes which always try to say how useless conductors are and how
they prevent players from playing well together etc, usually we all know that when an orchestra plays that well
together, then the conductor’s presence was all for the good!

I’m kidding. I meant that I was
admiring Sir Charles Mackerras’ outstanding work here. His musical talent can be heard in every player, every
phrasing, and I love the stylistic approach here. It means, let the music speak for itself. And this coincides with the
art of Mr Brendel, one of the few geniuses of the piano world. His style is very accurate, neutral and deeply personal
at the same time, not giving one of those “juvenile” Mozart performances some like. His genius is a lot
richer than the exhibitions of personality many usually call “genius”, and the more you get into his
performance, the more transparent he becomes, the more transparent Mozart himself becomes, giving your own soul a
picture of both your own life and the life you might own. And all the magic.

Amazon Customer
Reviews:

By Alexander Leach:

I really got this for the Concerto No 9 K271 which I have
preferred over many later and more famous Mozart concerti. While Brendel’s reading here doesn’t replace my
favourite performance (by Gulda on Orfeo), it is really excellent – in fact this SACD is enjoyable throughout,
and given very fine sound.

The combined ages of the 2 principal artists must be about 150 years, and I think
you can tell that from the performances – which is not to suggest at all that they are ponderous or overblown.
It’s more a question of style: the orchestral sound is rather fuller than I was expecting, but strikes a good
balance between crispness of sound with fine woodwind presence, and avoidance of thinness in the strings.
Mackerras’ accompaniments reminded me rather of Karl Boehm’s Mozart: full of wisdom and grandeur but
without heaviness.

The acoustic (the pretty large Usher Hall in Edinburgh) is generous, but the sound
throughout is vivid and well focused, with the piano very well integrated into the aural picture. Generally this will
appeal to listeners who like a traditional approach to Mozart piano concerti, but want to avoid too beefy an orchestral
contribution.

One tiny caveat is that I would perhaps have liked the timpani to be more present (perhaps
played with harder sticks?) at various points, most noticeably in K503’s opening ritornello – but they are
clearly audible, and generally this SACD sounds first-rate.

The `Jeunehomme’ concerto (K271) typifies
Brendel’s approach: tempi are fairly orthodox (certainly not particularly slow), although his playing of the
central Andantino is quite romantic – which is no bad thing when the playing of soloist and orchestra alike is so
pleasing.

Similarly he doesn’t set off like an express train in the brilliant finale (Gulda and others
are faster here), so overall the performance is thoroughly Mozartian and is generally relaxed. His choice of tempo
(certainly not too slow) for the finale also means that the lovely slower minuet episode half way through follows on
naturally – other performances, like Barenboim’s on EMI, rather fall down here as the change in tempo and
mood sound rather jarring.

The performance of No 25 K503 is actually rather Beethovenian, which seems correct
to me for this later work: the orchestral introduction is robust and Brendel’s entry is similarly dramatic.
Throughout this work the woodwind solos and string playing are really beautiful, and Brendel plays with an ideal
combination of power and crisp elegance, especially in the finale.

Sonically, this DSD recording is superb
– as I have mentioned the acoustic is fairly spacious but the presence of the performers is excellent, with a
generous soundstage and tangible depth to the image.

I only listened in multichannel, and give this very high
marks for the technical side of the recording. I can’t recall a piano concerto recording where the solo
instrument sounded as good as it does here. The performances are also excellent, so this SACD is very recommendable.

By P. Adrian:

The Austrian piano legend Alfred Brendel has established himself for a long time
as an accomplished interpreter of the Classical Viennese repertory. During his fabulous performing career (spanning more
than 60 years), both in live appearances at top-notch international musical venues and in recording sessions (for
Philips-Decca labels whose exclusive artist he’s been since 1970s), Brendel was constantly returning to his
favourite Mozart piano concertos with an always renewed inspiration and robust musical wisdom.

After having
recorded in his early forties the complete works for piano and orchestra by Mozart (under Sir Neville Marriner leading
the Academy of Saint Martin in the Fields) – a version that actually made date by setting very high standards in
the XXth century performing style – Alfred Brendel, this time in his late sixties, considered that a proper time
had arrived to embark for a new Mozartean concertante account. So, he teamed up the Scottish Chamber Orchestra and his
old friend Sir Charles Mackerras to release a new series of 8 Mozart concertos in four CDs recorded between 1998 and
2002. Of course, technical conditions of making recordings have significantly improved meanwhile, so his option could
have been regarded as having outer motivations: strictly technical ones. But the real reason of this late approach seems
to stem in the fact that Brendel’s mellow artistry calls for a fresh look on these everlasting masterpieces, for
their re-thinking in terms of an exquisite mature artistry after decades of playing them and meditating on their truths.
That long-life musical experience copiously entitled him for such a proceeding and settled the stage for a wonderful
achievement. (At about same age Brendel also recorded an delightful series of other 4 CDs comprising a vast amount of
Mozart piano sonatas.)

However, it is Brendel’s serene and crystal-clear conception that shines
throughout and makes the main attraction of these new releases. His unmatched insight and infectious fondness of playing
turn this legacy-series into a superb sample of musical honesty. It probes an unconditional devotement by a contemporary
leading artist to a genius in the history of music and at the same time offers a consistent source of joy to all Brendel
aficionados. The balance between playfulness and thoughtfulness is magically realized. The improvisational vein and deep
feelings, the classical poise, the seductive wit and the noble melancholy – all are there in Brendel’s
rendition drawing that long invoked image of Mozart, the genius “smiling through tears”. Brendel reached
that ineffable level of music-making where any comment on his fabulous technical and musical skills falls in
superfluous. No stupefying speed, no hail on keyboard, no outrageous fortissimos, but subtleties, crystal-clear
finger-work and a refined poised touch instead. But such applied analyses and dissection of means are suitable for great
pianists. For Great Musicians as Brendel the discussion goes far beyond such details, since his account seems to me to
unveil a conversation with one of the Gods of Music on equal footing.

Details

Released   
2002
Recorded   July 2001 Usher Hall, Edinburgh
Genre        Classical
Label         Philips/Decca
Length       67:44

Track List

1. Piano Concerto No. 9 in E flat major
(‘Jeunehomme,’ ‘Jenamy’), K. 271: I. Allegro    10:36
2. Piano Concerto No. 9 in E flat
major (‘Jeunehomme,’ ‘Jenamy’), K. 271: II. Andantino   13:00
3. Piano Concerto No. 9 in
E flat major (‘Jeunehomme,’ ‘Jenamy’), K. 271: III. Rondeau: Presto – Menuetto:    
Cantabile – Tempo primo   10:36
4. Piano Concerto No. 25 in C major, K. 503: I. Allegro maestoso   15:31
5. Piano Concerto No. 25 in C major, K. 503: II. Andante   8:11
6. Piano Concerto No. 25 in C major, K. 503: III.
[Allegretto]  9:25

This SACD ISO was ripped by sacd-ripper for PS3 version 0.36.

JPG Artworks
scanned at 600dpi are included.

Thanks to the original uploader!                                                             

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