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Mozart: Piano Concertos Nos.13 & 20; Piano Sonata K.280

Mozart: Piano Concertos Nos.13 & 20; Piano Sonata K.280

7 février 2000

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Amazon.com: 4.8 étoiles sur 5 4 commentaires
11 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Haskil's Mozart - Like No Other 5 mars 2004
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD Achat vérifié
Clara Haskil is one of, if not the single greatest keyboard performer of Mozart in my opinion. Haskil's Mozart interpretations are light, graceful and straightforward, but do not mistake them for wimpy! While many pianists precociously decorate their Mozart, Haskil simply lets the music speak for itself. The results show Mozart in a refreshingly serious light. Due to her late start in the recording studio we don't have a complete cycle to compare to the likes of Geza Anda, but the concertos she did tackle, she did so thoroughly. In fact, her recording of Mozart's 20th Concerto with Ferenc Fricsay and Berlin RSO featured on this disc is one of four studio performances I own, the others being accounts with Igor Markevitch, Bernard Paumgartner and Henry Swoboda. This 1954 account is as magical as the others, but her special musical understanding with Fricsay yields its own unique moments. Yet the treat for me was the recording of the 13th Concerto with Rudolf Baumgartner and the Festival Strings Lucerne in stereo from 1960, the first time I have heard her play this work. The CD concludes with two other 1960 performances -- Piano Sonata K. 280 and 12 Variations K. 265 (Twinkle, Twinkle, Little Star for us lay folks). The only problem is that K. 280 also appears on a DG Originals disc I own of Haskil performing Mozart's 19th and 27th Concertos with Fricsay (see my review). Well those of you familiar with my reviews know how I hate duplicates, but I'll live with it when it's Haskil and Mozart!
5.0 étoiles sur 5 The Mozart Concerto #13 here is the chamber ...... 10 janvier 2013
Par Jon Miller ('Kirk') - Publié sur Amazon.com
Format: CD
...orchestra version without winds and brass. Although I prefer the full orchestra
version, Haskil plays the chamber with such brio, phenomenal articulation, and exceptional
phrasing that I still love it. She also received great sound from DG, relatively unusual
for her. For the orchestral version, Malcolm Frager, I believe,
still owns it twice: with Emil Tchkarov and the Festival Sinfonietta/Vivace CD, and a DVD
with Josef Krips filmed in Canada. Others worth hearing: Haebler/Davis/Philips, Brendel/Marriner/Philips and Pires/Erato.
Haskil recorded #20 often, I find this Fricsay version and the Haskil/Markevitch/Philips versions her best but not identical. With Fricsay the Berlin
Orchestra is more appealing sonically and bit more fiery. With Markevitch Haskil sounds
a bit more sculpted/deliberate. In both she mines the tragedy and anger in the outer
movements and the storm which interrupts the Romanze. Both fillers with Fricsay are
lovely, with the second movement of the sonata k280 adumbrating the second movement of
Mozart's piano concerto #23, k488

Peers in #20: Serkin/Szell/Sony; Goode/Orpheus/Nonesuch; Gulda/Abbado/DG; Larrocha/Davis/RCA; Kovacevich/Davis/Philips; Haebler/Galliera/Philips; Annie Fischer/Lukacs/Hungaraton; Moravec/Marriner/Hanssler
1 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Haskil in Excelsis 25 août 2013
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Format: CD
"Victory comes late and is held low to freezing lips - too rapt with frost to take it."

It is a good thing that Clara Haskil received the fame that she did in her vesperal years after decades of neglect, penury and ill-health (Herbie, who loved her artistry, was always afraid she would die mid-concert). Much like the asinine comment that Carl Theodor, Duke of Bavaria made at the premiere of Idomeneo ("Who could believe that such great things could be hidden in so small a head?") it is by no means easy to reconcile such a frail figure with the leonine combatant at the keyboard. So it goes. Henceforth, I will mention her in the same breath as Edwin Fischer whenever I nominate my favourite pianists in Mozart.

This disc needs no advocacy but what the hell - I might as well burn off some excess energy. This is a highly dramatic and tenebrous performance of K 466 with Friscay and the Berlin Radio Symphony Orchestra, recorded in warm mono which is opaque on occasions. All of Haskil's attributes are in play: her touch (which is a miracle in itself), immaculate phrasing and imagination. Both pianist and conductor alike channel lava in the first movement. The unquenchable longing of the Romanze - sure, Mozart repeats the main theme twelve (?) times but it has a plenitude that defies repetition - is wondrous. The finale is hammered out as if hot from Vulcan's blacksmithery. If this performance had been recorded in 24-bit sound, it would be a world-beater; as it is, it's a heavy-weight in a crowded ring. As this is a download, I have no idea who composed the cadenzas: Beethoven is not displaced.

In K 415, one sorely misses the timpani, brass and indeed double-basses (as I hear it, the orchestra arrangement mirrors a string quartet). In consequence, Haskil adopts a more pacific approach than usual to this under-rated concerto. Every one of her phrases bespeaks mastery. I enjoyed it.

K 280 is no masterpiece but it can only have been written by Mozart. Calling it a dog, to say nothing of wishing it out of existence, is knob-central. It receives the best possible advocacy from Haskil.

The highlight of this disc, as others have noted, is the 1960 performance of K 265 ("Twinkle, Twinkle Little Star"), recorded some six months before her rendezvous with the Iron Horse. In terms of pure wit, there's nothing like it: it's the only version you need. It eclipses the field.

Nearly sixty years have passed since her misstep at the station and the memory of this frail little woman is evergreen. I cannot imagine it fading anytime soon. Yes indeed: "God keeps his oath to sparrows."
2 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Interesting but Mixed 17 juillet 2008
Par laguna_greg - Publié sur Amazon.com
Format: CD
I have been in love with Clara Haskil's playing since childhood. She is one of the most involved players that you can find on disk, and that's saying something. Somewhat unfortunately, I found this disk a little uneven both in the artistic realization and the quality of the recording.

The best thing on the disk is the variations on "ah vous dirai-je, Maman." Haskil gives a master class in how to shape a sinuous and lyrical phrase with nothing more than a straight scale up and down the keyboard. Every note of it is played with the utmost artistry and intention, although she doesn't play all the repeats as marked. The disk is worth the price for this performance alone.

The K466 concerto is very convincing, except that the recording comes off a little muffled. It is sometimes difficult to hear exactly what Haskil is doing; the effect is a little too restrained. The lows are very low, and the highs are just not climactic enough in this, one of Mozart's most dramatic instrumental compositions. It certainly isn't because of the players, as one can hear them shaping a phrase beautifully and perfectly together. So it's a technical thing sadly.

Haskil's playing is perfectly articulate here, with a really lovely tone quality and an amazingly nuanced sense of the phrase. I get annoyed by certain 19th century manners e.g. starting every single trill on the principal note rather than the upper note as is the practice today; the cadenzas are brilliantly played but are obviously the work of a 19th century composer and are not at all idiomatic. I don't recognize them, so they're not Hummel, Beethoven, and certainly not Mozart. Aside from that, I'd recommend the performance to anyone. Haskil's sense of the architecture in the development section of the first movement is captivating.

The K413 is again beautifully played. However, the 1st movement lacks energy and the third seems to, dare I say it, lack an imagination from this most imaginative artist. The recording is of better sound quality and dynamic range than the first selection. But Baumgartner is less sympathetic a partner than the elegant Fricsay, and the orchestral ensemble is not as perfect. And I don't know what happened to Haskil. The playing is squeaky clean and perfectly controlled rhythmically, but it just doesn't seem to have hardly any oomph in the brilliant textures that Mozart gives us in the opening Allegro. The second movement is convincingly lyrical, but the third is a disappointment. This movement is one of Mozart's most innovative and striking uses of the Rondo form with an amazing orchestration, yet I found Haskil's playing of it rather boring and monochrome.

The F-major sonata, on the other hand, is just a poor programming choice. It's a dog, one of the weakest of Mozart's compositions for solo piano that probably should never have been published. Haskil does what she can with it, but even she cannot overcome the pedestrian nature of the tunes and the construction.
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