Vladimir Spivakov is rarely convincing as a Mozartian. Compare his flighty, over-indulgent, insipid accounts of Concertos 1, 2, and 3 with the lordly and eloquent performances of Nos. 4 and 5 from Christian Ferras, and it’s pretty easy to understand why. Where Spivakov milks every phrase, over-laying it with a glutinous vibrato that’s quite out of place in this music, Ferras takes a more chaste and sober view, far better attuned to Classical decorum and stylistic propriety. That’s not to say that Spivakov’s readings are entirely without merit; certainly, he’s wonderfully gifted as a technician, but Mozart’s isn’t the music to choose if self-aggrandizement is your principal goal.
So I’d overlook Spivakov’s accounts and opt for either Itzhak Perlman’s complete cycle with the Vienna Philharmonic and James Levine on DG, or Arthur Grumiaux’s on Philips. Both are prime contenders at mid-price, and Perlman’s fine-spun tone, good taste, and accuracy will carry the day if you consider modern digital production essential. DG’s recordings capture the sound of a slimmed-down Vienna Philharmonic to good advantage, and the all-important pairs of horns and oboes are pleasingly balanced against the modestly sized string group. My only objection is that close-miking makes Perlman sound massive, but that’s no real hardship with playing of this caliber. Especially good is his poised and cultivated playing of the delicate slow movements, for which Spivakov has little empathy.
There is, however, a certain raw excitement about Spivakov’s collaboration with Yuri Bashmet in the K. 364 Sinfonia concertante. Outer movements go reasonably well (especially the big double cadenza of the first) but I’ve rarely heard the elegiac Andante sound as bland as this. In sum, this is a disappointing program, though it’s good to have Ferras’ recordings back in circulation. Perlman on DG is outstanding, but don’t overlook Arthur Grumiaux’s distinguished Philips set with Colin Davis and the LSO, also at mid-price.
