Review: Mozart & Poulenc – Double & Triple Piano Concertos – Kodama, Nagano

This new Pentatone release features conductor Kent Nagano, his daughter Karin, wife Mari Kodama, and her sister Momo. In an interesting parallel to their family collaboration, the program includes concertos for three and two pianos by Mozart, works that may have been intended for family performance in the composer’s time. They tackle these pieces alongside Poulenc’s Double Concerto.

Mozart’s Triple Concerto opens the album. Here, the orchestral introduction sets the stage, but this one feels restrained. The strings aim for elegance but lack presence and vitality compared to the Casadesus family with Ormandy. A similar issue arises when the pianos enter. While precise and clear, they lack the music’s inherent sprightliness. The overall sound engineering contributes to this; it doesn’t establish a clear balance between the ensemble and soloists, making the pianos sound thin and fragile.

The final movement (track 3) could also embrace a more vibrant presence. Admittedly, one only has so much leeway in working with lighter Classical textures, but there are still ways to better bring out the spirit of this Rondo. One is a greater distinction of character between sections; A more robust and assertive sound in the D minor sections, in particular, would enhance the music. Similarly, the F major section’s charm could be better conveyed with more variety in phrasing and articulation. The playful phrasing at 2’48” is a great example, adding a welcome touch. It would be good to hear that sort of thing elsewhere, too.

Fortunately, The performance of Mozart’s Double Concerto brings more to the table: the Orchestra de la Suisse Romande is noticeably more engaged in the opening movement (track 4), emphasizing individual instruments and providing verve. The soloists, too, tap into the ensemble’s energy, creating a greater level of certainty and drive across the board, which brings to life Mari’s description (in the liner notes) of a “conversation between Mozart and his sister.“

The Andante (track 5) largely maintains these strengths. Listen for subtle references to the duo element, like the two woodwinds gracefully pairing in a descending motif during the introduction. The scintillating Rondo showcases the pianists’ precision and synchronicity, likely due in part to their experience performing the work in reversed roles as well.

The Poulenc Double Concerto is a welcome—albeit completely different—addition. The duo thrives on the repeated notes, runs, and other flourishes throughout the first movement. There’s a delightful chaos to it, thanks to Poulenc’s blend of styles and elements. There are the furious dissonances and the playful castanets (which might remind us of Prokofiev) followed by a more lyrical section that’s steeped in mystery. But at each turn, the pianists and orchestra seem well-prepared to take on the new characters that appear, resulting is an exciting montage. The repeated note idea returns in the finale (track 9), but this time showcases the pianists’ impressive finger work. Despite the overall vigor, there is a sense of delicacy that we can appreciate in the contrapuntal textures.

The liner notes are well-rounded and generous; listeners will find the musical and compositional perspectives useful. But more importantly, the performers themselves contribute to the conversation. Mari provides artistic and personal insights that illuminate how each pianist shapes their voice within the concertos.

While not all the concerti hit the mark, the album is still worth the listen, especially for the Poulenc.

Recommended Comparisons

Mozart: Perahia&Lupu | Casadesus
Poulenc: Katia&Marielle Labeque | Eden&Tamor

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