Countdown to ‘91: Mozart at the Piano

Mozart on period pianos is very much the recorded thing as we approach the 1991 Mozart Bicentennial, and Singapore-born Melvyn Tan proves himself a true thinker among antiquarians in his program of solo piano music (EMI/Angel 54021). Included are a pair of staples, the Sonatas in A minor, K. 310, and in D, K. 576.

Most welcome, however, are Tan’s probing, rhythmically free readings of relative rarities: the Fantasia in C minor, K. 396--of which Mozart wrote only the first 20-odd measures but whose completion by the Abbe Stadler makes it perhaps the one totally convincing Mozart-like composition in existence; the hardly less dark and complex Fantasia in D minor, K. 397 (with its nods in the directions of both J.S. and C.P.E. Bach) and the bravura Variations on “Je suis Lindor.”

Where Tan digs deeply, American pianist Anthony Newman uses a pair of early pianos (Tan’s is a modern reconstruction) to show off both the instruments’ and his own brilliance in four separate CDs (Newport Classic 60121-60124) offering all 18 of the composer’s solo sonatas.

Newman’s energy and flashing technique are welcome in the lightweight sonatas, K. 279-K.284. More repose, more contrast, less speed for its own sake would, however, have enhanced his readings of such multihued marvels as the Sonatas, K. 330 and K. 332--where the omission of repeats is particularly regrettable--and the dark-as-night K. 457.

Mozart sonatas have been integral to the repertory of Alicia de Larrocha since long before the onset of Mozart mania. To these ears, however, her interpretations have always been too soft-edged in tone and temperament, too much like the Schumann and Chopin she plays with such idiomatic flair.

Larrocha begins her projected cycle of all the sonatas with typically easygoing, polished readings of three core sonatas--K. 330, 331 and 333--as well as the less imposing K. 283 (RCA Victor 60407).

Gyorgy Solti first attracted attention as a bright young piano pupil of Erno Dohnanyi at the Budapest Liszt Academy in the early 1930s. Since becoming Sir Georg Solti and one of our most celebrated conductors, he has returned to his pianistic roots via several recordings made during the past decade. He does so again in a Mozart program (London 430 232) whose star appeal is heightened by the presence of pianists Daniel Barenboim and Andras Schiff.

Barenboim and Solti deliver a lively, neatly integrated performance of the very grand Concerto in C, K. 365. Schiff joins them for the pleasant but paltry Triple Concerto in E-flat, K. 242. Solti assumes the solo duties of the Concerto in D minor, K. 466, and directs the English Chamber Orchestra from the keyboard in all three.

The extrovert conductor proves a surprisingly neutral, even timid soloist in K. 466 while providing an orchestral accompaniment notable neither for incisiveness nor neatness.

Appealingly burly energy and unexaggerated lyric warmth distinguish a reissue of early-1970s Mozart from the Marlboro Festival (Sony Classics 46255, mid-price). The pianists are the Serkins, father Rudolf and son Peter, applying themselves joyously to K. 365, while Serkin senior offers an account of the Concerto in A, K. 414, that is blithe and muscular by turns--the latter adjective applying as well to the conducting of Alexander Schneider in both. The third item on the program, the Piano Trio in G, K. 502, has the treacly violin of Jaime Laredo and labored cello playing by Madeleine Foley to offset, if not quite negate, Rudolf Serkin’s forthrightness.

The name of Sviatoslav Richter does not readily come to mind in conjunction with Mozart. It should. His 1975, live-performance recording with the late Oleg Kagaan of two major sonatas for piano and violin, K. 306 and K. 378, as well as some interesting fragments, has surfaced in EMI/Angel’s budget-priced “Mozart 91” series (67016) and is warmly recommended.

Kagaan’s wide vibrato and occasionally weepy tone fail to dampen Richter’s bounding energy--and the pianist’s dominance is, after all, dictated by the composer. As evidenced again here, Richter is the one keyboard giant of modern times able to scale his massive gifts and personality down to the requirements of chamber music without losing the distinctiveness of his artistry in the process.