Alim Beisembayev

It’s spring in Vienna; well, OK, it’s early summer but it’s a gray day when Mozart doesn’t make you feel younger and I reckon this new release from Alim Beisembayev will do just that. In a world of infinite entertainment possibilities, Beisembayev has done the hard bit – the choosing – for you. Here we have two late piano concertos (Mozart wrote them between the ages of 30 and 32, as his own solo career wound down) charged with a grandeur, a playfulness and an endless smiling compassion that will come as a glorious corrective to anyone whose last experience of Mozart involved bodily fluids and confectionery in Sky’s hellish remake of Amadeus.

Grade: A It’s spring in Vienna; well, OK, it’s early summer but it’s a grey day when Mozart doesn’t make you feel younger and I reckon this new release from Alim Beisembayev will do just that. In a world of infinite entertainment possibilities, Beisembayev has done the hard bit – the choosing – for you. Here we have two late piano concertos (Mozart wrote them between the ages of 30 and 32, as his own solo career wound down) charged with a grandeur, a playfulness and an endless smiling compassion that will come as a glorious corrective to anyone whose last experience of Mozart involved bodily fluids and confectionery in Sky’s hellish remake of Amadeus.

It’s a right mess, the classical piano trio; the unintended consequence of one of musical history’s more frustrating twists. When the trio first evolved, in the age of Haydn, the piano (or at any rate, its frail domestic forebear) was the junior partner, and the two string instruments, violin and cello, were added to make the silly thing audible. Then the piano started to evolve, while its partners – give or take the odd tweak – really didn’t, much. The end result, by the second half of the 19th century, completely reversed the original balance of power, leaving the two string instruments thrashing for dear life against the onslaught of that glossy, black, all-devouring monster, the modern concert grand.