Monday 16 May 2016
It is a sure sign of the greatness of Mozart’s music that it has proved so ripe for re-interpretation and discovery by every generation of musicians for 250 years. In the list below we have gathered 50 of the finest recordings of Mozart’s music – Gramophone Award-winning albums, Recordings of the Month and Editor’s Choice discs, from Dennis Brain and George Szell to Arabella Steinbacher and the Jussen brothers. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. We have also included, where possible, the complete original Gramophone reviews, which are drawn from Gramophone’s Reviews Database of more than 40,000 reviews.
Lucas Jussen, Arthur Jussen pfs Academy of St Martin in the Fields / Neville Marriner
Mozart’s Concerto for three pianos, K242, was composed in 1776 for the Countess Lodron and her two daughters, and later arranged for (the only slightly more convenient) two pianos. The Concerto for two pianos proper followed in 1779 and was conceived for Mozart himself and his sister Nannerl to perform together. Much play is made of the opportunities for the pianos to echo each other or hocket figures between the two instruments, as well as simply letting one accompany the other or one provide harmonic filling to the melody of the other. It follows that this music is ideally cast for a pair of pianists who match each other in tone, temperament and technique. Two brothers, for instance.
Lucas (b1993) and Arthur (b1996) Jussen are such an ideal pair, right down to their identical floppy blond hair, black T-shirts and winklepickers. It’s not quite that only their mother can tell them apart, but on hearing them play these two duet concertos, even she might struggle. The cadenza in K365’s opening movement ends with a chromatic scale over three and a half octaves, split between the two pianos, and I swear you can’t hear the join. Those moments where the two pianos toss a motif between each other sound for all the world like a single instrument. And each knows when to fine his tone down to pianissimo to let the other have his moment in the spotlight.
The Jussen boys have found perhaps the perfect collaborator in Sir Neville Marriner, who has conducted more Mozart than most; the Academy acquit themselves well. The disc closes with the sonata that all amateur duettists attempt – the D major of 1772 – perhaps not played with the freedom that comes with the experience enjoyed by Pires and Argerich in Lugano but with a youthful exuberance that’s entirely appropriate for music by a 16-year-old composer. David Threasher (January 2016)
Complete article: http://www.gramophone.co.uk/feature/the-50-greatest-mozart-recordings