Tag: Eric Heidsieck

Title: Eric Heidsieck, André Vandernoot – Mozart: Piano Concertos Nos. 20, 21, 23, 24, 25 & 27 [3 SACDs] (1957-1960/2018)
Genre: Classical
Format: SACD ISO

Hyde-Seck’s celebrated recording from his youth returns in majestic style! This world-first SACD release captures a masterful performance where freedom and musicality blend in perfect harmony. The 24th returns for the first time since its LP release! To mark the 50th anniversary of his first Japan tour, we present a 3-disc SACD hybrid set of Eric Heidsieck’s youthful ‘Mozart: Piano Concertos’. Even amongst the vast number of Mozart recordings, this collection not only retains its lustre but continues to be cherished by many. This year (2018), coinciding with his Japan tour featuring a programme including part of Concerto No. 21, we are reissuing a limited set of six concertos from his early career, originally recorded for EMI. Among these six, the four stereo recordings in particular are exceptionally rare, cherished by many devoted fans who still consider them unrivalled. Recording began in December 1957 with the 24th, alongside the 21st. Work resumed in June 1960 for the 20th and 23rd, followed by the 25th in September 1961, with the 27th concluding the series, all captured by EMI France at the time. Hyde-Seck (1936-), one of Cortot’s (1877-1962) beloved pupils, was just 21 years old at the time of the first recording. He graduated from the Paris Conservatoire National Supérieur de Musique in 1954 and made his French debut the following year. His talent was recognised early in Paris, and he made his American debut in 1960. The first two recordings, being monaural, were slow to be reissued in the CD era (No. 21 was first released on CD in January 2006 on a Tower Records compilation; No. 24 remains unreleased on CD to date). However, the four stereo recordings, regarded as among the definitive performances of these works, were frequently reissued on budget labels, reaching a wide audience. While Mozart performances are not bound by a single mould, one is immediately struck by the improvisational quality and thrilling energy of Heidscheck’s piano, which moves with boundless freedom. At the same time, the flexibility of its sound and its refined expression are nothing short of genius. The performance is emotive yet meticulously detailed, a miraculous achievement that continues to garner enduring support. Equally unforgettable is the meticulously considered accompaniment from the Orchestre du Conservatoire de Paris and Vanderノート, whose contribution is so vital that without this partnership, the performance would scarcely merit the title of ‘masterful’. There is not a trace of emotional indulgence here; instead, one glimpses the unshakeable resolve to support this young pianist wholeheartedly. Recorded during sessions at Salle Wagram, these sources fully capture the orchestra’s sound of the era, with the woodwind tones being particularly exquisite. The freshness of this reissue allows one to savour Hidetsugu’s delicate touch, the contrast with the backing, and Vandernoot’s subtle expression even more fully. The SACD layer offers an even higher resolution to enjoy this century’s masterpiece. For this reissue, masters digitally transferred at 96kHz/24bit from the original domestic masters were used, with separate mastering undertaken anew for the SACD layer and the CD layer. This is a permanent preservation edition.

This time, we have also reinstated the commentary by Mr Kōhō Uno, a central devotee of Hydeschek featured in previous editions, alongside a new foreword by Mr Hiro Aiba. The commentary, which also considers Hydeschek’s current status, is particularly noteworthy. For this series, the SACD layer aims for extended high frequencies and soft nuances alongside high resolution and a rich soundstage, while the CD layer strives for a cohesive, solid sound with a tangible, present-to-the-touch timbre. The CD itself possesses considerable potential; indeed, we invite you to enjoy it as an SACD hybrid disc, allowing you to savour the best of both formats.

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