Musik / klaverkoncerter

Piano concertos nos. 9 & 24


Anmeldelser (38)


The observer

d. 9. sep. 2012

af

af

Fiona Maddocks

d. 9. sep. 2012

"The result is joyful, probing and vivacious in the early Jeunehomme in E flat major, K271 and in the grand C major, K467, both of which have famously tender, poetic slow movements. The ensemble between Uchida and the Cleveland is cleanly articulated but always full of wonder and curiosity".


AllMusic

2012

af

af

Blair Sanderson

2012

" The Piano Concerto No. 9 in E flat major, "Jeunehomme," and the Piano Concerto No. 21 in C major (nicknamed "Elvira Madigan" after the Swedish film) are among Mozart's most popular piano concertos, so newcomers to his music would do well to give this disc a try, while connoisseurs will acquire it as a matter of course".


Politiken

d. 3. okt. 2023

af

af

Thomas Michelsen

d. 3. okt. 2023

"Albummet, som Lars Vogt ikke selv nåede at høre, inden han døde i september 2022 ... Fordi Vogt kendte sine franske musikere godt, fungerer det hele smukt på et album, der umiddelbart kunne ligne endnu et album med Mozartkoncerter. Men som (...) er en velkommen chance for at sige farvel og samtidig fortsat lytte til en musiker, der virkelig kunne gøre klavermusikken levende og nærværende".


Jyllands-posten

d. 12. okt. 2012

af

af

Jens Povlsen

d. 12. okt. 2012

"Mozart gjorde det selv, og Mitsuko Uchida tager også gerne dobbeltrollen som solist og dirigent på sig ... Men den perfekte afstemning i forhold til det melodiske skelet skærmer ærgerligt nok for en god del af det indre liv, der gør Mozarts musik så livsbekræftende. Med sit klare, smukke anslag viser Uchida imidlertid også, at det er de skønneste melodilinjer, hun får ud af Mozarts rigt facetterede fraser".


Politiken

d. 15. okt. 2012

af

af

Thomas Michelsen

d. 15. okt. 2012

"Hendes klaverspil er ikke bare brillant. Det er klangligt nærmest svævende. Fortolkningsmæssigt så gennemnysgerrigt ... Der er steder, hvor orkestret på Mitsuko Uchidas indspilning ville have haft godt af en dirigent til at samle indsatserne ... Men fortolkningerne er overlegne ... En usædvanlig spændende plade med raffineret, hele tiden levende indhold fra en moden Mozartfortolker".


Fono Forum

2006 August

af

af

Wolfgang Schreiber

2006 August

"Kosuges "Jeunehomme"-Konzert lässt schon bei der ungestümen Eingangsfloskel aufhorchen, nachdem das NDR-Sinfonieorchester unter dem aufmerksamen Lawrence Foster das dreiklang-Signal exakt, nicht zu rasch, formuliert hat ... Yo Kosuge spielt auch das C-Dur-Konzert mit geistiger Überlegenheit, glasklar in der Diktion - rhytmisch sehr sicher, ohne dass die Poesie des melodischen geopfert wird".


BBC music magazine

2007 January

af

af

Martin Cotton

2007 January

"In many ways these are old-fashioned performances, but they never lose sight og Mozart's extraordinary genius".


BBC music magazine

2014 December

af

af

Max Loppert

2014 December

"On their own terms, these accounts ... are of superlative high quality ... Alexandre Tharaud himself dominates with comprehensive keyboard mastery, producing ravishing colouristic delicacies and exhibiting a nimbleness and flexibility of phrasing that has one listening to these much-recorded works with fresh ears".


Diapason

2014 novembre

af

af

Alain Lompech

2014 novembre


Fono Forum

2014 Dezember

af

af

Frank Siebert

2014 Dezember

"Vurdering: Empfehlungen des Monats" - "Hervorragend zu diesem Ensemble aus Mozart-Werken gesellt sich als krönender Abschluss Haydns chevaleresk-elegant musiziertes D-Dur-Konzert. Fazit: noch eine Aufnahme mehr für die einsame Insel".


Diapason

2005 decembre

af

af

Etienne Moreau

2005 decembre

"L'opus 3 atteste la pertinence de l'entreprise avec évidence: servant les titres les plus forts de la série par la réalisation la plus aboutie, il est, en tous points, achèvement".


BBC music magazine

2011 March

af

af

Misha Donat

2011 March

"If you prefer your Mozart concertos played on period instruments, you're unlikely to find better performances than these".


BBC music magazine

2023 November

af

af

Jessica Duchen

2023 November

"Concerto choice: Vogt's ensemble with his attentive orchestra is close-knit, while at the piano there's not a hint of compromise, nor need for any. He sounds on top form, with his typically vivid articulation and sparkling touch, while his generously lyrical phrasing incorporates unfailing attention to detail".


Klassisk

2023, nr. 71

af

af

Steen Chr. Steensen

2023, nr. 71

"Es-dur koncerten ... er Mozarts første klaverkoncert i stort format, hvor orkestret udnyttes symfonisk, hvilket giver uanede muligheder for at skabe spændende konstellationer til solisten både dynamisk og klangligt. Disse muligheder griber Vogt i et tæt sammenspil med orkestret ... Der er noget nysgerrigt, undersøgende i hans spil, som passer godt til koncertens ungdommelige karakter ... En helt anden tyngde præger c-mol koncerten, nr. 24 ... som Lars Vogt tager op med sans for både de stormfulde højder og inderlige dybder ... En værdig markering af en stor pianist med en unik analytisk indsigt og et musikalsk hjerte på rette sted".


Fono Forum

2024 Januar

af

af

Ingo Harden

2024 Januar


BBC music magazine

2012 December

af

af

Jeremy Siepmann

2012 December

"These are performances of enchanting grace, proportion and controlled vitality".


Fono Forum

2023 Januar

af

af

Frank Siebert

2023 Januar

"Die langjährige Zusammenarbeit zwischen dem Freiburger Barockorchester und Kristian Bezuidenhout zeigt in ihren stimmigen künstlerischen Resultaten, wie stark Ensemble und Solist miteinander verbunden sind ... Vom grossen architektonischen Bogen über die Balancierung swischen den weich tönenden Bläsern und den kühl glitzernden Streichern bis hin zu dem feinnervig artikulierten Solopart gibt es viel zu bewundern".


BBC music magazine

2022 December

af

af

Jessica Duchen

2022 December

"Continuing his survey of the Mozart concertos with his regular collaborators, the Freiburger Barockorchester, Kristian Bezuidenhout ... offers a marvellously expressive account, He creates an effortlessly flexible canvas that has the space to breathe, while drawing out the music's often conversational character with warmth, humour and grace ... The fortepiano balances effortlessly with the period instruments, which are expertly wielded".


International record review

2006 November

af

af

Mortimer H. Frank

2006 November

"This would be a commanding disc from a pianist of any age, but coming as it does from a mere 23-year old it is especially impressive ... Nothing sounds forced or affected, and although these performances employ modern instruments, they boast the bite and clarity that one ordinarily associates with "period" practices ... In short, this release may well be a harbinger of a splendid career that lies ahead for this young and clearly talented artist".


The gramophone

2007 January

af

af

Nalen Anthoni

2007 January

"Throughout these performances he proves to be a supreme technician and deeply sensitive musician. Moreover, he is given wholehearted support by Leppard who is in complete control of orchestral texture and instrumental balance, reticent, spongy timpani notwithstanding. But the lopsided presentation disturbs concentration and takes the edge off absorbing interpretations that complement the ones by Alfred Brendel and Charles Mackerras. Readers who are not bothered by the flaws in this new recording might care to have both discs".


Kristeligt dagblad

d. 10. juni 2002

af

d. 10. juni 2002


High fidelity

2002 6

af

2002 6


The gramophone

2014 November

af

af

Jed Distler

2014 November

"Her [DiDonato] impeccable intonation no matter how decorative the passagework, her effortless agility in all registers and her genius for word-painting (together with Tharaud's vibrant and eloquently shaded piano obligato) are worth the price of this disc".


High fidelity

1999 6

af

1999 6


Jyllands-posten

d. 3. aug. 1999

af

d. 3. aug. 1999


Berlingske tidende

d. 30. juni 1999

af

d. 30. juni 1999


International record review

2006 February

af

af

Mortimer H. Frank

2006 February

"One might argue that with so many fine versions of these two concertos available, new ones are hardly necessary. But the taste, individuality and prevailing stylishness of the readings here make a fine case for this release".


International record review

2011 February

af

af

Nicholas Salwey

2011 February

"Vurdering: IRR outstanding" - "For the first time in my experience on disc, Gergiev and the LSO have concinced me that every bar in this work is essential to the Symphony's life, a true living organism in music that had med breathless with excitement at its close. No one can afford to ignore this record".


The gramophone

2023 Awards

af

af

Harriet́ Smith

2023 Awards

"Editor's choice: It has to be said that, leaving the poignancy aside, the musical results speak for themselves and offer an illuminating last word to add to the extraordinary set of Schubert chamber works that Vogt made with the Tetzlaff siblings ... His credentials as an outstanding chamber musician are everywhere apparent, and there's some particularly delectable play with the winds ... Lars Vogt left behind only a handful of Mozart concertos, making this all the more precious".


International record review

2012 November

af

af

Charles Timbrell

2012 November

"Vurdering: IRR outstanding" - "Uchida has decided to revisit some of these concertos ... and the third, the present disc, is in every way a worthy successor. It gets the highest marks in terms of orchestral refinement, balances of individual parts, pacing, spontaneity and sheer loveliness and vitality ... This instalment is a real winner".


The gramophone

2012 December

af

af

Richard Wigmore

2012 December

"While these performances don't necessarily eclipse her earlier ones, Uchida remains one of the most thoughtful and poetic of Mozartians, with a fastidious control of sound second to none".


The gramophone

2022 Awards

af

af

David Threasher

2022 Awards

"Bezuidenhout once again demonstrates the benefit of his long association with Mozart's music in performances that honour the spirit of each work while not sticking slavishly to the letter of the score, tugging gently at pulse and ornamenting freely and generously".


Klassisk musik

2004, nr. 12

af

2004, nr. 12



Informationer og udgaver