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In Reply to: RE: True, EXCEPT for the C-Minor Piano Concerto (K. 491) posted by oldmkvi on December 05, 2016 at 14:22:56
. . . but it's available remastered onto SACD as a Japanese import - for the usual premium price.I almost feel that SACD is overkill, given the merely OK SQ of the original recording.
I also like the old Rubinstein/Krips recording - not remastered onto any hi-rez medium AFAIK.
I'd take either of these older recordings in 60's analog sound in preference to the somewhat milque toast Helmchen recording on Pentatone in true hi-rez (you know you want it anyway - after all, the master is DSD!).
I know Uchida (whom I sometimes like) has a new series going on with the Cleveland Orchestra, but she hasn't gotten around to the C-minor Concerto yet. BTW, another great recording from the 60's is the Heidsieck/Vandernoot/Paris Conservatory Orchestra album, originally on Pathe/EMI. Heidsieck re-recorded this work much later (in the 90's?) with the Salzburg Mozarteum Orchestra under Hans Graf - I haven't heard this one, but I'm a great admirer of Heidsieck.
Edits: 12/06/16Follow Ups:
Hi Chris, actually Uchida/Cleveland Orchestra recordings of the Mozart concertos include Concertos 9 and 17-27 (but no 26). Most of them have more passion and involvement than the concertos she recorded with Tate, except unfortunately #20, which I found kind of hangdog and not at all energetic. All of the recordings were made in concert, and there is no audience noise. We did clap and shout "Brava!" a lot (I was in the hall for several of the concerts).
The most recent disc (17 and 25) is supposed to be the last one she'll record in Cleveland.
Looks as if I can download a CD-quality file at Presto Classical. Thanks for correcting my post and for your assessment of the performances!
Very hard to beat that Clara Haskil performance, even though she was in poor health and no doubt past her best at that point.
I mentioned that I hadn't heard the re-recording of the concerto by Heidsieck (i.e., the 90's one with Graf conducting - 1992 to be precise), but I actually DO have it, and I listened to the last movement last night. It's what some might call "interventionist" and not everybody is going to like it. For instance, in this last movement, he plays the very last variation which comes out of the cadenza in the same non-strict rhythm, cadenza-like style. His earlier (French Pathe / EMI) recording with Vandernoot from back in the 60's was more orthodox, although it nevertheless had a strong individuality to it, even within the more conventional framework. He's a great pianist IMHO, despite some misfires every now and then.
Edits: 12/06/16
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