Let us dare to approach this publication not from the angle of the originality of the 1er Piano concerto by Hélène de Montgeroult, inspired by two violin concertos (noto 4 And noto 6) by Viotti, but by the sonic singularity of the Broadwood pianoforte from 1826, pure and absolute marvel. If, therefore, you liked the recent publication of Partitas Bach by Martin Helmchen for the sounds of the tangent piano, you might “crack” for this proposal. Even if Elisabeth Pion did not go beyond the 1er tour of the recent Montreal International Competition, she proved in the 24e Concerto of Mozart that faced with such an instrument in such a work, she knows exactly what to do with it, instrumentally and musically, with a playing very skillfully enriched by ornamentations. Arion’s accompaniment seems more balanced to us than during the concert, which had allowed us to describe Montgeroult’s very Mozartian work. Attention: the last track is 1er part of the Concerto no 24 with alternative cadence and has nothing to do with Viotti.
To watch on video