Stylish polish and more than a few spontaneous touches distinguish Jean-Efflam Bavouzet’s way with Mozart, most notably in the G major K. 453 concerto. Here he eschews the agogic exaggerations and taperings that too many modern-day Mozart practitioners deem stylish, while imbuing many phrases with discreetly witty embellishments, such as in the first movement’s second subject.
A genuine chamber aesthetic informs Bavouzet’s willingness to accompany when the woodwinds have the tunes, as he matches color and timbre to his surroundings. This particularly hits home in the finale’s variations, as the flutes and oboes rapidly intermingle with the piano’s scampering runs. Bavouzet’s original cadenza may give purists pause; after about one minute of Mozartisms the pianist suddenly slips into faux Ravel, only to settle back into Mozart before the orchestra returns. Fortunately, he also offers Mozart’s own cadenza on a supplemental track, allowing listeners to choose.
The less popular yet still musically interesting K. 456 concerto also receives a fine performance. In general, the interpretation evokes the lean and intimate Andsnes/Norwegian Chamber Orchestra recording, but with more incisive solo work. Some listeners may find the Manchester Camerata strings’ threadbare tone and sparse vibrato a bit precious in parts of the Andante, but the bright assertion of the finale’s prominent horn passages reveals the extent to which they foreshadow similar moments in the Beethoven “Emperor” Concerto’s Rondo. These performances may not displace one’s favorites in a crowded catalog, yet Bavouzet’s superb and often stimulating pianism is anything but redundant.
