Anne-Marie McDermott brings new insights to Mozart concertos

For volume four, Anne-Marie McDermott presents two contrasting Mozart piano concertos. And the contrast goes beyond just the concertos. The supplied cadenzas also represent two very different interpretations of Mozart’s music.

The Piano Concerto No. 25 in C major, K. 503 is one of Mozart’s longest concertos. And many consider it one of his greatest. For this recording, McDermott performs Chris Rogerson’s cadenza.

Rogerson is a major talent who’s composed a piano concerto for Anne-Marie McDermott. His cadenza seems almost like a fantasia of Mozart’s first-movement themes. And while Rogerson’s voice is present, the cadenza fits quite well into Mozart’s music.

For the Piano Concerto in D minor, K. 466, McDermott chose the cadenzas written by Ludwig Van Beethoven. This was one of Beethoven’s favorite concertos by Mozart. And it was one he performed often.

When the cadenzas kick in, there’s no doubt who wrote them. They have a focussed intensity that is pure Beethoven. Beethoven takes Mozart’s motives and relentlessly develops them. And, of course, placing great demands on the soloist all the while.

There are plenty of recordings of these two concertos available. But McDermott’s interpretations provide fresh insights. She manages to balance the voices of the cadenza composers with Mozart’s. And makes it all sound logical, coherent, and thrilling.

Though these are carefully composed cadenzas, McDermott makes them sound spontaneous. Genius.

Another strong addition to this series.

Mozart Piano Concertos, Vol. 4
Anne-Marie McDermott, piano
Odense Symfoniorkester; Sebastian Lang-Lessing, conductor
Bridge 9562

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