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Turning to Mozart's Piano Concerto No. 9, Markl called for an 18th century-sized component of orchestral personnel (music director Yuri Temirkanov tends toward the thicker, 19th-century, all-hands-on-deck
approach). The Mozartean dimensions provided a supple complement to pianist Lars Vogt's own stylistic sensitivity.
Vogt produced a wealth of color and shading from the keyboard, releasing abundant character and momentum in the first movement, telling drama and exquisite tenderness in the second, wit and sparkle in the
cheeky finale. Every step of the way, Markl was the attentive partner, encouraging the reduced BSO to add its own subtle, elegant touches.
... This was vital, affecting Mozart.
Baltimore Sun 17.10.2003
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