For the first time, outbursts of minor and diminished chords appear to darken the sky, and these caprices of mood were thoughtfully emphasized by tutti and soloist. The Rondo finale is conversational in a way the other movements are not. Allakhverdyan’s masterful control of his instrument’s sound let him highlight precisely that edgeless, luminous timbre that Mozart so admired. Virtually no other instrument in Mozart’s music, including his own piano, seems to be chosen so specifically for its timbral qualities. The sublime Adagio was taken at an ideal tempo, barely riding the edge of repose, allowing Allakhverdyan to glide on instrumental updrafts in the orchestra. His ability to shape dynamics was especially compelling. Soloist Boris Allakhverdyan sculpted phrases with a mix of polish and muscularity. Late Mozart reveals Bach’s influence, and the brief but vital episodes of imitative counterpoint in the first movement were rendered with clarity and momentum. Fortunately, conductor Francis highlighted the subtle details waiting here.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |