K.s.thomas

New York-based Chinese pianist Zhen Chen and the Chamber Orchestra Mannheim (Kurpfälzisches Kammerorchester) have dared a new interpretation of Mozart’s Piano Concertos No. 15 in B flat major, KV 450 and No. 21 in C major, KV 467. The concertos were recorded under the direction of Thomas Rösner in Germany’s Mannheim, a UNESCO City of Music. As such, these two piano concertos are intimately connected to the musical and historical relevance of this city, which Mozart himself felt likewise drawn to.

New York-based Chinese pianist Zhen Chen and the Chamber Orchestra Mannheim (Kurpfälzisches Kammerorchester) have dared a new interpretation of Mozart’s Piano Concertos No. 15 in B flat major, KV 450 and No. 21 in C major, KV 467. The concertos were recorded under the direction of Thomas Rösner in Germany’s Mannheim, a UNESCO City of Music. As such, these two piano concertos are intimately connected to the musical and historical relevance of this city, which Mozart himself felt likewise drawn to.

The Bournemouth Sinfonietta was founded in 1968 as a chamber orchestra of about 35 players to complement the work of the larger Bournemouth Symphony Orchestra. The first conductor was Kenneth Montgomery, followed by Maurice Gendron, Norman Del Mar, Roger Norrington, Tamás Vásáry, and Alexander Polianichko, as well as director/violinists Ronald Thomas and Richard Studt. The Sinfonietta has appeared at the BBC Proms, with Glyndebourne Touring Opera, for the National Opera Studio, at the major British music festivals, on tour in Europe and Brazil, and on over 70 recordings (many featuring the work of contemporary British composers).

New York-based Chinese pianist Zhen Chen and the Chamber Orchestra Mannheim (Kurpfälzisches Kammerorchester) have dared a new interpretation of Mozart’s Piano Concertos No. 15 in B flat major, KV 450 and No. 21 in C major, KV 467. The concertos were recorded under the direction of Thomas Rösner in Germany’s Mannheim, a UNESCO City of Music. As such, these two piano concertos are intimately connected to the musical and historical relevance of this city, which Mozart himself felt likewise drawn to.

The main fault to this set is simply that there is not enough of it. Trombonist Vic Dickenson, who receives top billing, is just on two of the six selections, for a total of 11 minutes. Dickenson's octet (which also includes trumpeter Buck Clayton, Hal Singer on tenor, clarinetist Herbie Hall, pianist Al Williams, guitarist Danny Barker, bassist Gene Ramey, and drummer Marquis Foster) is fine, the arrangement on "The Lamp Is Low" is catchy and Clayton takes honors. But one suspects that the Dickenson name was used originally to help sell the music of the other band, which is led by trumpeter Joe Thomas. The lyrical Thomas is joined by the extroverted trumpeter Johnny Letman, trombonist Dicky Wells (who has a few speechlike solos), tenor saxophonist Buddy Tate, clarinetist Buster Bailey, pianist Herbie Nichols, guitarist Everett Barksdale, bassist Bill Pemberton, and drummer Jimmy Crawford…