Ana-Marija Markovina


Wolfgang Amadeus Mozart


Klavierkonzert d-moll KV 466
Klavierkonzert c-moll KV 491


Recorded in a concert hall in Sofia Bulgarian just last year, this sensitive interpretation of two major Mozart piano concertos features a Croatian pianist who displays a precise and uncluttered technique that is perfectly attuned to both the subtle refinements of these works and the subtleties newly revealed by the much higher resolution of the DSD format. Though in minor keys, both works begin with major intent in the form of 14 minute Allegro opening movements. The smaller orchestra allows hearing even more of Mozart’s delicate piano part and its interaction with the ensemble. The surround channels are fairly low level but effective in placing the listener in the concert hall if levels are correctly matched and your surround speakers are similar to the frontal speakers. The note booklet has a lengthy essay translated (maybe that’s the problem) from the German (or it could just be that) about…actually it’s such convoluted philosophical pontification I’m not sure I could even say what it’s about. Mozart and the Ms. Markovina are actually mentioned a couple places in it but it’s like they’re coming for air in a deluge of academic blather. Nevertheless the disc itself is an auspicious start for another new SACD label.

CMN (Classical Music Network) multichannel SACD 005 (Distr. By Qualiton)

Fanfare Magazine

This article originally appeared in Issue 27:3 (Jan/Feb 2004)

It’s difficult to account for what I consider to be a fact here: that Ana-Marija Markovina’s performance of the Mozart Concerto, K 491, is one of the most poignant I have heard, a performance whose glory comes in the Larghetto, when Markovina’s sensitive phrasing seems just about perfect. And yet the performance of K 466, a much grander work, sounds mannered virtually from the start, mannered in Markovina’s somewhat staccato touch, and in the comparably fussy playing of the orchestra. In the performance of K 466, orchestra and soloist seem to coexist, mimicking each other without really meshing. The performance of K 491 is somehow infinitely better. Probably the answer is simply in the different character of the two pieces. The bouncy playfulness of the finale of K 491 seems right up Longo’s alley; the high drama of K 466 is not. Certainly, I would rather listen to Rubinstein and others play the earlier piece. Markovina’s K 491 is highly gratifying, though. So, this is an inevitably mixed review of performances whose recorded sound is particularly beautiful.

Michael Ullman

Reproduction interdite

e la pianiste croate Ana-Marija Markovina, née en 1970, Paul Badura-Skoda disait qu’elle était “ une des plus importantes artistes de sa génération ” : à vous de corroborer cette opinion. Toujours est-il que son jeu clair, et son refus de l’utilisation de la pédale, lui permet d’offrir une lecture parfaitement transparente de ces deux œuvres parmi les plus importantes de Mozart. À leur propos, on ne peut que s’étonner de l’atmosphère sombre et résignée qui les envahit, alors qu’ils datent tous deux d’une époque de la vie de Mozart plutôt riche en succès. Un pavé dans la mare des innombrables analystes qui veulent à tout prix établir, au forceps s’il le faut, des parallèles psychologiques entre la vie et l’œuvre des créateurs.
Voilà une version jeune et sincère de deux grands sommets de l’art du concerto écrits par un Mozart de 29-30 ans.
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Abeille Musique AMCD 2004

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