W.A. Mozart, Klavierkonzert No. 22 in Es-dur

von LePenseur

 

 

Gespielt vom unermüdlichen Rudolf Buchbinder und den Wiener Philharmonikern. Wer eine recht andere Interpretation hören will: hier werden Sie geholfen, und zwar von Paul Badura-Skoda und Furtwängler, nur die Wiener sind dieselben.

Interessant, was in einem Kommentarpost unter letzterer Aufnahme zu lesen ist:

The recording above deserves a special place in the history of classical music because it was the performance at which Badura-Skoda talked Furtwangler - the king Lear of German music interpretation at that time - into allowing him to use his own new cadenza at the end of the third movement. K482 is one of the key works in Mozart's collection of compositions because he was in the middle of composing the marriage of Figaro when he produced this, his 22nd Piano concerto. It is full of gentle references to the opera, especially most of the melody of Alma Viva's plea for forgiveness from the final act, but there was one important thing that Mozart added to the concerto and one he completely left out - maybe even forgot. He added two clarinets to the score, the first time that instrument was ever used in a Mozart piano work. But the bit he forgot was a cadenza at the end. He was extremely busy at the time and it is generally presumed he just let pianists play what they wanted to, if anything, as the work comes to a close. But Badura-Skoda thought it was far too important a work to be left so obviously lacking shoes or a hat. He produced a wonderfully non-Mozartian cadenza that was so immediately popular that it was widely used in preference to Hummel's cadenza, normally played up to then. In 1957 Badura-Skoda's cadenza took over as the most popular way of filling that gap in the wonderful work. When Richter and Britten came along and produced another total novel cadenza in 1961 many people adopted it, yet nowadays it is still the 1957 cadenza that is generally preferred. An interesting aside to this story - which I can only label as hearsay - is that Furtwangler had a reputation for never allowing soloists to play German music any way but his own. He was about to insist on this in rehearsals when Badura-Skoda gently reminded him that Mozart was not German. Whether true or not we at least have a glorious addition to a masterpiece to listen to however it was agreed to play it the soloist's way.

 LePenseur gesteht beschämt: das hat er bis dato nicht gewußt ...