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Alice Sara Ott|Tchaikovsky & Liszt : Premiers Concertos pour piano

Tchaikovsky & Liszt : Premiers Concertos pour piano

Alice Sara Ott - Münchner Philharmoniker - Thomas Hengelbrock

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The first piano concertos of Franz Liszt and Pyotr Il'yich Tchaikovsky are staples of the genre and so well-known that, for some artists and audiences, they have become tired warhorses. Yet Alice Sara Ott claims an intimate connection to these works, which have been a part of her experiences since her teens, and she communicates personal expressions in passages that other pianists may find merely showy or bombastic. Ott's playing is always remarkable for her controlled touch, clarity of line, and clean technique, and her presence in both performances is strong. The quality that is perhaps less obvious in her performances, but just as important as the virtuosity, is her lyrical handling of the quiet sections. These may not be the first things listeners notice or even seek out, especially in the face of all the hammered chords, lightning-fast runs, octaves, and other keyboard pyrotechnics, but they are what make this concerto album a fascinating study. Ott's need for personalizing the music is largely dependent on her use of rubato, and the push-pull between the piano and orchestral accompaniment means that Thomas Hengelbrock and the Munich Philharmonic need to feel her interpretation, as well as follow her pulse. What results is a rather elastic style of playing in both concertos, which may not be to everyone's taste, but it certainly distinguishes Ott and her highly Romantic approach to these two monuments of the repertoire. Deutsche Grammophon's sound is full in sonority yet focused on details and not overly reverberant.

© TiVo

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Tchaikovsky & Liszt : Premiers Concertos pour piano

Alice Sara Ott

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Piano Concerto No. 1 in B-Flat Minor, Op. 23, TH. 55 (Pyotr Illitch Tchaïkovski)

1
I. Allegro non troppo e molto maestoso - Allegro con spirito (Live At Gasteig, München / 2009)
Alice Sara Ott
00:20:57

Thomas Hengelbrock, Conductor, MainArtist - Pyotr Ilyich Tchaikovsky, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

2
II. Andantino semplice - Prestissimo - Tempo I (Live At Gasteig, München / 2009)
Münchner Philharmoniker
00:07:00

Thomas Hengelbrock, Conductor, MainArtist - Pyotr Ilyich Tchaikovsky, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

3
III. Allegro con fuoco (Live At Gasteig, München / 2009)
Thomas Hengelbrock
00:07:01

Thomas Hengelbrock, Conductor, MainArtist - Pyotr Ilyich Tchaikovsky, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

Piano Concerto No. 1 in E-Flat Major, S.124

4
I. Allegro maestoso
Alice Sara Ott
00:05:53

Thomas Hengelbrock, Conductor, MainArtist - Franz Liszt, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer, Executive Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

5
II. Quasi adagio - Allegretto vivace - Allegro animato
Alice Sara Ott
00:09:30

Thomas Hengelbrock, Conductor, MainArtist - Franz Liszt, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer, Executive Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

6
III. Allegro marziale animato - Presto
Alice Sara Ott
00:04:22

Thomas Hengelbrock, Conductor, MainArtist - Franz Liszt, Composer - Münchner Philharmoniker, Orchestra, MainArtist - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Recording Producer - Mark Buecker, Recording Engineer, Asst. Recording Engineer, StudioPersonnel - Christian Leins, Producer, Executive Producer

℗ 2010 Deutsche Grammophon GmbH, Berlin

Consolation No.3, Lento placido

7
Liszt: Consolation No. 3 in D-Flat Major, S. 172
Alice Sara Ott
00:04:08

Franz Liszt, Composer - Alice Sara Ott, Piano, MainArtist, AssociatedPerformer - Rainer Maillard, Producer, Editor, Recording Engineer, Recording Producer, StudioPersonnel - Christian Leins, Producer, Executive Producer - Evert Menting, Asst. Recording Engineer, StudioPersonnel

℗ 2010 Deutsche Grammophon GmbH, Berlin

Albumbeschreibung

The first piano concertos of Franz Liszt and Pyotr Il'yich Tchaikovsky are staples of the genre and so well-known that, for some artists and audiences, they have become tired warhorses. Yet Alice Sara Ott claims an intimate connection to these works, which have been a part of her experiences since her teens, and she communicates personal expressions in passages that other pianists may find merely showy or bombastic. Ott's playing is always remarkable for her controlled touch, clarity of line, and clean technique, and her presence in both performances is strong. The quality that is perhaps less obvious in her performances, but just as important as the virtuosity, is her lyrical handling of the quiet sections. These may not be the first things listeners notice or even seek out, especially in the face of all the hammered chords, lightning-fast runs, octaves, and other keyboard pyrotechnics, but they are what make this concerto album a fascinating study. Ott's need for personalizing the music is largely dependent on her use of rubato, and the push-pull between the piano and orchestral accompaniment means that Thomas Hengelbrock and the Munich Philharmonic need to feel her interpretation, as well as follow her pulse. What results is a rather elastic style of playing in both concertos, which may not be to everyone's taste, but it certainly distinguishes Ott and her highly Romantic approach to these two monuments of the repertoire. Deutsche Grammophon's sound is full in sonority yet focused on details and not overly reverberant.

© TiVo

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