1ST RECORDING
probably the very first recording (world premiere) of the piece after it has been discovered among the mis-catalogued papers in the Bodleian Library. The pianist Jennifer Eley, was found dead in her swimming pool 10 years after the recording issued(Article). A comment of the disc from amazon. Bolded brackets are my notes on the comments.
This is a must-have for any serious Mendelssohn lover. This 2-movement concerto pulsates with vigor, verve and passion.(which I somewhat agree) It is quite unlike Mendelssohn's 1st and 2nd (1831 and 1837 respectively), which are brilliant bravura pieces.(The second is less bravura than the first I think) This final concerto is altogether more somber, more wistful, and more satisfying.The two themes, in and of themselves are squarish and not some of Mendelssohn's happier inspirations.(I thought that most masterpieces are in minor mode? ex.requiem,appassionata, moonlight?) But, his treatment of them is masterful. The orchestration has fewer unique moments, which I attribute to the incomplete nature of the manuscripts.(It's because of some scholars want a more faithful sounding work, so they leave the orchestration very hollow) But, there are lovely uses of pizzicato strings(indicated by Mendelssohn himself), and also very lush portions that sound more of the later Romantics. And finally, the last 90 seconds of the first movement are ravishing. For those who have found Felix heartless, or then again, too cloying, listen. It is gorgeous, heartfelt, heartbreaking music of the highest order.(Yeah, but do listen to the 2nd recording, it spoils it completely)The second movement is a swaying, wistful, conclusion to this concerto. It seems less overtly sentimental than the first two concerti and more nostalgic. It is likewise delightful to hear.This recording is the slowest of the 3 recordings here, which I think not really suitable due to the allegro nature and habit of Mendelssohn, Allegro molto vivace = fast and very quick/lively.
2ND RECORDING
After reconstruction and completion by renowned Mendelssohn scholar R.Larry Todd, which I admired him for his faithful and dedicated contribution to works and researches of Mendelssohn. However, when come to reconstruction, he can't make it perfectly, or even worse, maybe as a scholar, any changes must be supported by reasonable proofs. The first movement is incredibly fast (sometimes rush!) compared to the 1st recording. The pianist M.K. did not emphasize on some very important parts of the piece, what I hear is just rushing on the chords and quick passages. Come to the 2nd movement, I felt the concerto gradually sank into a very Lento mode, terribly slow movement which I can't accept. At first, what I want to say is this movement is not like the former 2nd movements of the PCs 1&2, there is a waltz tempo in the left hand, and Andante never meant to be Lento or Largo. It is at a walking pace as every musician knows, I just don't feel like I am walking, I am crawling like a snail instead. The finale is the most reasonable and normal movement compared to the former 2, it is largely because of the tempo of the violin concerto is famous to all and playing it wrongly was hardly acceptable. This poses a question that the 2 themes insisted by Mendelssohn himself was not used, was this a faithful completion?by not considering the composer's own thoughts?
The orchestral score has been published by Baerenreiter.
3RD RECORDING
Mainly bought for the 3rd PC, the other orchestral works are usually worthless to listen, because the draft version is simply worse than the published one.This reconstruction of the piano concerto is the most successful and beautiful of all 3. The first movement begins with a really fast tempo but not rushing like the 2nd one. There is probably some addings of semiquaver passages in a part where only left hand chords are sketched, which is far more superior than the 2nd one.The ending here is brilliant with smooth transition to the Andante. 2nd movement is beautifully crafted in tempo and notes. The finale, which uses themes insisted by Mendelssohn is a brilliant solution to the unfinished part, it sounds Mendelssohnian and uses the technique frequently used by Mendelssohn himself. The only problem is it is too short, if it can extend till 5 or 6 minutes, it will be excellent. The score is published by RICORDI.
