CONCERTO CHOICE
Assured Beethoven from Alice Sara Ott
There’s delicacy, wit and colour in this First Piano Concerto, says Martin Cotton
Beethoven
Piano Concerto No. 1*; ‘Moonlight’ Sonata; Für Elise etc
Alice Sara Ott (piano); *Netherlands Radio Philharmonic/Karina Canellakis
DG 486 4898 56:17 mins
The clarity and realism of the recording in the concerto are what first impress, with detail in all parts of the orchestra, from high winds down to timpani and double basses, coupled with stereo separation that has depth as well as breadth. Of course, such an achievement would be meaningless if the performance was not at the same level, but the orchestral tutti combines energy and sensitivity, before Ott enters in an almost improvisatory fashion, then takes off with delicacy and rhythmic wit. And there’s a beautifully veiled quality to the development section, where a more relaxed tempo doesn’t deprive the music of direction, but creates an oasis of calm before the recapitulation brings things to heel. The Largo is flowing but unrushed, with some delicate touches of rubato, and assured variety of colour and balance all round. Finally, the Rondo really does capture the scherzando character, never becoming too heavy, even in the minor key passages, and with enjoyment in the unexpected accents that Beethoven throws in to propel the music forward.
The ‘Moonlight’ Sonata has a lightness of touch, with a brisk first movement, so that the accompanying triplets don’t get bogged down, and the, and even more impressively in the , where the opening bars and similar passages come across at the quiet dynamic that Beethoven asks for, and the loud chords at the end of each phrase have a satisfyingly irruptive effect. Ott’s rubato in the coda jars a little, but that is what gives personality to the four short pieces that end the album.
