Anne-Marie McDermott has a very distinctive playing style, especially with Mozart. It’s delicate without being dainty. It’s expressive while neither being too emotive nor overly reserved.
McDermott’s playing embodies what I like to think Mozart’s intentions were. But it’s playing that goes deeper than the notes.
McDermott’s own personality makes these oh-so-familiar works sound fresh and innovative.
For volume three, McDermott performs two Mozart piano concertos. The Concerto no. 14 in E-flat major, K. 449 was written in 1784. It’s considered the first of his mature concertos.
The second concerto is his last, the Concerto No. 27 in B-flat, K. 595. The two works neatly bookend Mozart’s mature period. Both upend audience expectations of the day. And yet these surprises sound both logical and inevitable.
McDermott’s performances are first-rate. Her phrasing, especially in the B-flat concerto is exquisite. In other words, this release matches the high standards set by the previous two.
Wolfgang Amadeus Mozart: Piano Concertos, Vol. 3, K. 449, K. 595
Anne-Marie McDermott, piano
Odense Symphoniorkester; Sebastian Lang-Lessing, conductor
Bridge Records 9538