Life after Bach: Suzuki’s Missa Solemnis yields mixed results.
This is your third disc of Mozart concertos. What is your fascination with these works? One keeps discovering layers in this music that seem to be endless. The depth of this music astonishes me. I feel like centuries of culture are being synthesised and put into those scores. What individual characters do you find in the C Major (No 25) and the B Flat (No 27)? The C Major is heroic and brilliant. The B Flat is intimate and somewhat sad. By pairing the two works I wanted to bring out the contrast of their respective characters. What differences do you find between Mozart’s late piano concertos and other composers’ works from that period? The richness of interactions between the piano, the individual instruments in the orchestra, the originality of the form in each concerto (and yes remaining in the Classical form). Piotr Anderszewski. Photo: supplied I’ve heard you refer to the ‘hidden operas’ inside these works. What do you mean by that? I mean that each musical phrase narrates a story. The combination of melody, rhythm, dynamics, gives a certain context and tells a story with no need for words. Why do you prefer to direct from the keyboard?