Either by accident or design, these two concertos have been paired at least four times before on CD: Schiff/Decca; Stepan/Supraphon; de Larrocha/RCA; and Haskil/DG. The works complement each other. The F major K. 459 arguably is the most fertile and upbeat of the six piano concertos Mozart penned in 1784, gushing creativity at every juncture. Mozart’s valedictory B-flat concerto is more rarified and inwardly directed in its overall inspiration. This often results in performances from well-known Mozarteans that crumble under the weight of their solemnity. Happily, Richard Goode and the remarkable, conductor-less Orpheus Chamber Orchestra checked their kid gloves at the studio door. The tuttis spring forth with bracing clarity, leaving no scoring felicity unheard. Goode deftly tailors his solo part to his surroundings like the seasoned chamber player he is. He scales his dynamics without sacrificing one iota of tonal heft, and really goes to town in the cadenzas. None of these qualities, I hasten to add, detract from the music’s fragile lyricism. As for the F major concerto, few performances touch this one for ensemble finesse, pointed wit, and playful interaction between soloist and orchestra. What fleet and joyful music making this is! All I can say is that the rehearsals must have been rewarding and fun for all involved. Last but not least, Harris Goldsmith’s superb annotations inform as much as they entertain. A class act, not to be missed.
