New Classical Tracks: The contrasts of Mozart

When Maurizio Pollini won the 1960 Chopin Competition at the age of 18, Artur Rubinstein, the chairman of the jury said, "That boy plays better than any of us!"

That boy wasn't quite ready for fame. He disappeared from the concert scene for a few years, while continuing to make marvelous strides at the piano. But he re-emerged and became one of the world's leading pianists.

These days Pollini limits himself to about 40 concerts a year, receiving astronomical fees, half of which he shares with his piano tuner.

Now, at age 66, what really matters, Pollini says, "is that I feel more exhilarated than ever by music. I am still capable of surprising even myself."

His latest recording features him playing with and directing the Vienna Philharmonic Orchestra in two Mozart piano concertos.

Maurizio Pollini never has to worry about playing the right notes. His technical skill is impeccable. His sound is crystal clear. He really makes the piano sparkle in the first movement of Mozart's Piano Concerto No. 12, K. 414.

Mozart wrote this for his first public appearance as a pianist-composer in Vienna in 1782. The Viennese public expected a graceful, appealing concerto, and Mozart delivered.

This concerto is all about lyrical expression, something at which Pollini excels. The cheerful first movement is followed by the tranquil andante.

Pollini takes his time in this delicate slow movement. He varies the tempo ever so slightly, gently gliding through the soft and loud passages.

A playful allegretto closes out this concerto. Before the final theme returns there's a brief surprise, as the piano pauses quickly for one last opportunity to improvise.

The woodwinds in this concerto provide added color and texture, but can easily be left out, which was common practice in the composer's day.

In the Piano Concerto No. 24, K. 491, however, the woodwinds are essential. In addition to a pair of oboes, Mozart adds two clarinets -- the last time he used clarinets in his piano concertos.

In this setting, the woodwinds express a sense of underlying sorrow. This is where we really hear the detail in the Vienna Philharmonic's playing. The outstanding wind players are constantly in the foreground, each instrument adding its own dimension.

Mozart left no cadenzas for this concerto. In the first movement, Pollini includes a cadenza by the contemporary composer Salvatore Sciarrino, adding yet another layer of intrigue to this somewhat mysterious work.

The final movement retains that mournful quality. This is one of Mozart's finest examples of theme and variations.

Pollini and the Vienna Philharmonic tell it like it is on this new Mozart recording. They see no need for gimmicks or any added interpretation. They stick to the score, giving the composer full creative rein.

This followup recording to their highly acclaimed 2006 release of Mozart concertos will be received with equally high praise.

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