Collectors in the early 1970s could count on John Ogdon’s Mendelssohn concertos as plausible supplements to Rudolf Serkin’s fiery reference versions–his fingers still commanded all the sparkle and sensitivity these works demand. For instance, his rapid chord playing in the finales boasts exceptional control of voicing, while the D minor’s lyrical central movement, if somewhat sober next to more malleable treatments from András Schiff, Stephen Hough, and Jean-Yves Thibaudet, is spun out in sustained arcs. The London Symphony plays well for Aldo Ceccato but lacks both the breathtaking textural diversity Herbert Blomstedt inspires from the Leipzig Gewandhaus Orchestra (accompanying Thibaudet) and the opulent yet incisive strings exemplified by the Philadelphia Orchestra under Eugene Ormandy.
The Rondo Brilliante is a shade foursquare and earthbound: it could have benefited from the scintillation and drive that distinguishes Serkin’s recording. Lastly, Ogdon plays the John Ireland and Cyril Scott fillers as though he’s sight-reading them to perfection while keeping emotional distance from their sexy harmonic language and wistful atmosphere. While Ogdon fans will be pleased to hear these Mendelssohn concertos, the aforementioned Schiff, Hough, and Thibaudet versions match, often surpass, and sonically supercede this release. [7/9/2003]
