Related Reviews
Trusted Reviews
'Moving on to the 24-bit/192kHz recordings of Mozart’s Piano Concertos No.12, 13 & 14 by Gottlieb Wallisch, the timbre of the piano sounded just sublime. The notes kept their definition and shimmer, even when the strings entered with gusto behind.'
more >>
Fanfare
‘Here is a different take on Mozart by a quartet often playing wittily as well as exquisitely, and by a talented pianist.’
more >>
Pizzicato
5 Stars
'Gottlieb Wallisch und das Piatti Quartett prasentieren sehr Uberzeugende Interpretationen der Klavierkonzerte 12, 13 und 14, wobei insbesondere Wallisch sich als ein ebenso nuancierter wie virtuoser Pianist entpuppt der den jugend Uchen Drive aber auch das bereits vorhandene Genie Mozarts sehr deutlich horbar macht.’
more >>
MusicWeb International
‘skillfully played’
more >>
AllMusic
'These are Mozart's authentic arrangements and of special interest to collectors...'
more >>
SA-CD.net
5 Stars
’Another fine disc…’
more >>
MusicWeb International
‘Gottlieb Wallisch’s elegant piano playing and the subtle and refined touch given to the accompaniment by the Piatti Quartet…’
more >>
Piano News
4½ Stars
'Der Reichtum aber an Farben und Ausdriicken, den die Musiker hier zu erreichen vermogen, besticht in jeder Hinsicht.'
more >>
International Record Review
'There is much fine playing here...'
more >>
Musical Pointers
'These are satisfying accounts which we have enjoyed.'
more >>
Discothek
4 Stars
'Der großartige österreichische Pianist und das Piatti Quartet widmen sich Mozarts Klavierkonzerten (Nr. 12, 13, 14) in der Kammerversion. Erfrischend gut, mit Leidenschaft und Hingabe gespielt.'
more >>
Klassik
4 Stars
,,Genie der Mikrofone...Dies ist beileibe nicht die einzige Darstellung dieser Werke, aber eine der klanglich gelungensten. Philip Hobbs, Toningenieur, ist der heimliche Star dieser Platte.''
more >>

Gottlieb Wallisch - Piatti Quartet - Mozart: Piano Concertos 12, 13 & 14 - Gramophone


13 August 2013
Gramophone
Richard Wigmore

To maximise sales, Mozart published these concertos both with orchestra and a quattro – ie, with string quartet. In the composer's day, domestic chamber performances vastly outnumbered public orchestral ones. Yet the quartet versions remain makeshifts. The ceremonial-military first movement of K415, with its trumpets and drums and ringing, neo-Handelian counterpoint, suffers most in the reduction. Even in the more lightly scored K414 and K449, you miss the countless subtle glosses provided by the oboes and horns.

In his own engaging if awkwardly translated note, Gottlieb Wallisch suggests that the chamber scoring ‘enhances the intricacies ofthe string-writing and encourages immediate reaction among the five musicians'. I see what he means, up to a point, in K449, whose string textures approach the richness and contrapuntalingenuity of Mozart's ‘Haydn' Quartets. This is, I think, the most successful performance of the three. Wallisch is a robust, rather plain-speaking Mozartian, more concerned with the long view than poetic detail. Truly soft playing is at a premium, an impression enhanced by the close recording. The first movement, taken steadily, is sturdy rather than mercurial. But he and the alert Piatti Quartet are responsive to the Andantino's troubled chromaticism, and lucid and sinewy, in the polyphonic miracles of the finale.

There are good things in the two earlier concertos: say, the care for a broad, singing line in the solemn Andante of K414, and Wallisch's clarity and vigour in K415's contrapuntal sallies (including a sneak preview of Beethoven's Die Weibe des Hauses Overture). Wallisch's no-nonsense directness has its virtues.


Bookmark and Share


Related Links

Gottlieb WallischGottlieb Wallisch
Piatti QuartetPiatti Quartet
Mozart: Piano Concertos Nos. 12, 13 & 14, The Chamber VersionMozart: Piano Concertos Nos. 12, 13 & 14, The Chamber Version