This twelfth and final volume marks the culmination of Jean-Efflam Bavouzet’s journey through Mozart‘s complete piano concertos — a project that began more than a decade ago and whose fourth (review) and fifth (review) installments were reviewed on these pages. Conductor Gábor Takács-Nagy and the Manchester Camerata remain the pianist’s consistent collaborators. The program brings together two rondos alongside the concertos for two and three pianos.
As in previous volumes, the album also includes companion orchestral works. One of these is the overture to Idomeneo, re di Creta, K. 366 (track 1). Although performed on modern instruments, the interpretation reflects a historically informed sensibility. The ceremonial opening has appropriate presence but avoids excessive weight that would sit uneasily with Mozart’s idiom. The timpani playing is particularly well judged, balancing rhythmic energy with buoyancy, while the strings maintain crisp articulation in the rapid passages.
The Rondo in A major, K. 386 continues in a similarly elegant vein. The ensemble’s restrained tone is complemented by neat staccato articulation and carefully shaped phrasing. When the soloist enters, the character becomes somewhat more animated: Bavouzet’s short notes are slightly more pointed, and the legato passages move with natural flexibility. A useful comparison is Murray Perahia’s recording with the English Chamber Orchestra. In that performance the ensemble adopts a more extroverted approach, with thicker legato and a more prominent inner voice, while the pianist provides balance through a warmer, more introspective reading of the solo line.
The Piano Concerto No. 7 in F major, K. 242 “Lodron” (tracks 3–5) brings Bavouzet together with pianists Andrea Nemecz and Rose McLachlan. The three soloists interact comfortably: intricate passages are well coordinated and exchanges with the orchestra are smoothly handled. Despite this technical assurance, the performance feels somewhat underpowered. Possibly due to microphone placement, the pianos lack sufficient presence even in their fuller passages, giving the sound a certain thinness. The recording by Kent Nagano and his family, which I reviewed in 2024 (review), presents a similar issue yet conveys more substance overall. A more satisfying account remains Eugene Ormandy’s collaboration with the Casadesus family, where the orchestral playing projects greater vitality and the soloists shape their lines with more pronounced dynamic contrast.
The performance of the Piano Concerto No. 10 in E-flat major, K. 365 for two pianos does not fully resolve the balance issue, but the lighter texture proves more effective in the slow movement, the Andante (track 11). Bavouzet and Nemecz adopt an intimate, reflective tone, and the expressive climaxes emerge naturally from the musical dialogue. The exchanges between the two pianists feel purposeful, as do the interactions with instrumental soloists, including a well-judged oboe passage around the 2’40” mark.
The inclusion of orchestral works such as the overture to La finta semplice, K. 51 allows the Manchester Camerata to take a more central role. The opening Molto allegro (track 7) displays the ensemble’s rhythmic vitality and precision. The bowing is sharply articulated, and the shaping of smaller crescendos creates a sense of forward momentum. The Andante offers a welcome moment of lightness, while the concluding Molto allegro (track 9) captures the music’s playful energy through its dotted rhythms and lively triplet figures.
This volume continues the series’ use of Yamaha pianos. Their tonal character suits Mozart’s music well, yet the recording balance does not fully project their sound. As a result, this final installment does not quite match the impact of some earlier releases in the cycle, several of which were particularly successful. There are also more compelling recordings of the double and triple concertos available elsewhere. Nevertheless, the orchestral performances add interest to the program, and collectors following Bavouzet’s complete cycle will likely wish to hear its concluding chapter.
Recommended Comparisons
Album Details | |
|---|---|
| Album name | Mozart: Piano Concertos, Vol. 12 |
| Label | Chandos |
| Catalogue No. | CHAN20339 |
| Artists | Jean-Efflam Bavouzet, Andrea Nemecz, Rose McLachlan (pianos), Manchester Camerata, Gábor Takács-Nagy (conductor) |
