Piano Concertos 9 & 19 (recorded 1952-56)

"Flawless, perfectly expressive … even the inferior sound does little to damage this priceless pianism"
(MusicWeb Dec 2007)

"Listening to the Bucharest-born Clara Haskil (1895-1960) always brings much joy. Her playing exudes musicality, whether it is Mozart, Falla or Hindemith.

This recording of the E flat concerto is also available on Urania 4221; Urania's transfers have not always impressed me, however, and this Medici Masters issue has clarity and depth that seems perfectly balanced. Haskil (with the piano rather forwardly balanced) beautifully shapes the performance while Ackermann draws playing of some brio from the orchestra. The occasional finger-slip notwithstanding, Haskil gives as clean an account as one could wish, invoking Uchida and Brendel in the process - yet she is deeper in emotion than the former. In this concerto, as in K459, she plays Mozart's own cadenzas, adding a spontaneity that actually gives them the rare illusion of being improvised. The slow movement has a rapt sense of space, while the finale is almost ultra-neat in articulation. A pity Ackermann is rather routine at times here, something emphasised by Haskil's magic around the 3'40" mark (a glorious upward arpeggio before the stately minuet steals in).

Haskil has several recordings of the F major concerto available including one with Ferenc Fricsay. The Cologne Radio Symphony Orchestra is altogether livelier for him than for Ackermann. The orchestral playing is lighter and more pointed - in fact, the perfect foil to Haskil's limpid, delicate pianism. The piano sound here seems even better than in K271, in that it is more rounded. The second movement is a true Allegretto, with some truly lovely dialogues between piano and orchestra, while the finale displays Haskil's stunning finger-work. It is this finale that brings the only real caveats. The orchestral phrasing can seem dated (which it is, in one sense), and the acoustic seems rather swimmy at the opening of the movement.

Haskil's version of the Duport Variations is the perfect palate-cleanser. The artless simplicity Haskil brings to the musical-box theme only adds to the charm, as well as emphasising Mozart's mastery in the ensuing Variations.

Presentation is good. Bryce Morrison writes affectionately about Haskil in his booklet note (although he says little about the actual performances enshrined on the disc itself), while the inclusion of some line-drawings of Haskil on page 9 is delightful. A very recommendable release."
(Colin Clarke classicalsource.com)