Mozart Piano Concertos: Complete Collection for Classical Music Lovers – Perfect for Concerts, Study & Relaxation

To date, this remains the most important "complete" set of the Mozart concertos, although not without the requisite cautions and reservations due to some controversial, but valid, interpretive choices made by the performers. That being said, however, everything about this set bespeaks a deep understanding of the Mozart idiom, a great deal of thought and intelligence, and, most importantly, risk taking.The first risk - Schiff's decision to partner with Vegh - may not seem like one at all, but his sacrificing of some interpretive control to his colleague allows Schiff to completely surrender his focus to matters of interpretation. And in that sense, the risks pay off. Vegh is no mean accompanists but a brilliant Mozartian in his own right, and under his leadership, the Camerata Salzburg delivers performances with few equals. What Vegh and company achieve is strikingly idiomatic, all the more so because it is exactly what Mozart (likely) had in mind. There are too many examples of fabulous ensemble work to site individually, but there are some highlights: the dazzling string work in the second movement in K 453 or the magnificent horn work in the entirety of K 482. The winds especially are just spectacular throughout the entire series, from their brusque humor in the outer movements of K 459 or the absolutely stunning bassoon work in the development of K467's allegro. Of course, much of the praise must go to Vegh, who elicits just magnificent work from the ensemble. What is most striking about Vegh's contribution, however, is his ability to drive the music forward. A perfect example is his shaping of the developments in K 456 and the mighty 503. Both works featuring episodic and somewhat repetitive developments as the orchestra and piano toss about the thematic materials. In Vegh's hands, however, the music drives forwards and never outstays its welcome. Particularly in 503, the secondary march-theme never sounds tedious due to Vegh's shaping of the music coupled with exceptional sense of pacing and flow. It is, simply put, top notch Mozart.Of course, as the man at the center of it all, Mozart has rarely had such an earnest and intelligent advocate. The playing throughout is perfection, something we come to expect from any pianist who tackles these monuments of the keyboard repertoire, but what is really special is Schiff's musicality. He shapes paragraphs of sound brilliantly - the beautiful mood painting he and the orchestra conjure at the beginning of K451, the chase beauty of K 467's famous slow movement, or the sustained delicacy K 414's andante.Schiff's intelligence also is on full display in his perfectly-created cadenzas. His "pumped up" version of Casadesus's perfect cadenza for K482's first movement is well-choses while his own creation for the finale seamlessly marries the music from the central interlude with the jubilant main themes. Similarly, Schiff's bombastic cadenza for the allegro of 503 can be forgiven as it brings an appropriate sense of occasion to Mozart's most Apolloian concerto.What is most striking about the Schiff-Vegh partnership, however, is the energy and brio that so-often gets lost in Mozart. Indeed, gone is that sense of "Dresden China," that dainty preciousness that we so often find in Mozart concertos. The vim and vigor applied to K 459 highlights Mozart's humor while the explosive openings of K 482 and 503 are unapologetically grand. The risks the team take in underscoring the many moods of Mozart - the pompous and arrogant (K 179, 271, 503), the touching (K 414, 459, 488), the joyous (K 453, 482), the bravery (K 466, 491) - gives further proof that these works are the last word in both technical and emotional intellectualism.With so much individual thought brought to each project, however, there are choices that may seem controversial to some. The expansiveness of K 459's outer movements undercut Mozart's intent in showcasing technical skill. The paired-down versions of the three early Viennese concertos (i.e., no winds in 414, no trumpets or drums in 415) tend towards chamber music. Most interestingly is the texturally sparse K 595, where Schiff and Vegh create a chillingly icy air for Mozart's swan song. While it is likely Mozart would have written additional piano concertos had he lived longer, Schiff's conception of the work as a final farewell is certainly valid, especially as it is so exceptionally well argued. Finally, there are times where Vegh and Schiff do not seem entirely on the same page, such as in K 271, where Vegh's forward drive does not mesh with Schiff's sentimental musings from the keyboard.There are many sets of these concertos that are fabulous, including Perahia and Uchida, both of whom are more "consistent" in the sense that their canonizing interpretations are less idiomatic. And then there are those fantastic individual performances from Curzon and Casadesus which are required for any respectable Mozart collection. But on the whole, Schiff and Vegh beat the lot with their intelligent, risky, gutsy, colorful, and, most importantly, idiomatic set. Recommended for all who care about this music.