Mozart: Piano Concertos K453

On this CD:

1. Piano Concerto No. 17 in G major, K. 453
Composed by Wolfgang Amadeus Mozart
Performed by Vienna Symphony Orchestra with Rudolf Buchbinder
Conducted by Rudolf Buchbinder

2. Piano Concerto No. 18 in B flat major, K. 456
Composed by Wolfgang Amadeus Mozart
Performed by Vienna Symphony Orchestra with Rudolf Buchbinder
Conducted by Rudolf Buchbinder

Tracks:

I. Allegro
II. Andante
III. Rondeau: Allegretto
I. Allegro
II. Andante
III. Finale: Allegretto

Amazon.com

Mozart's 12th Piano Concerto is one of his sunniest works, and that's how it's played here with Brendel's piano providing the beautifully phrased melodies and, in the Andante, perfectly judged and placed trills. Mackerras and the Scottish Chamber Orchestra provide the forward motion and sprightly vigor the piece demands but doesn't always get. The Concerto No. 17 dates from 1784, two years later than its disc mate, and is a more intimate work, with touches of drama in the first movement and a hint of the tragic beneath the graceful surface of the Andante. That movement also sports some fetching wind playing as the orchestra again shines under Mackerras' baton. These are elegant performances with more than enough energy to keep the works from just being "pretty," making this one of those discs that you'll want to hear over and over again. -- Dan Davis

Mozart: Piano Concertos No. 9 K271, No. 17 K453

Average customer rating:

Exquisitely done in good sound but perhaps not the final word

Mozart: Piano Concertos No. 9 K271, No. 17 K453

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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ASIN: B000000APN
Release Date: 1992-10-28

Tracks:

Piano Concerto No. 9 In E Flat Major, K271: I. Allegro
Piano Concerto No. 9 In E Flat Major, K271: II. Andantino
Piano Concerto No. 9 In E Flat Major, K271: III. Rondo: Presto
Piano Concerto No. 17 In G Major, K453: I. Allegro
Piano Concerto No. 17 In G Major, K453: II. Andante
Piano Concerto No. 17 In G Major, K453: III. Allegretto - Presto

Customer Reviews:

Exquisitely done in good sound but perhaps not the final word.......2006-08-03

I'd read much about pianist Howard Shelley -- mainly in the English press -- and never heard him perform before buying this disk of Mozart concertos 9 and 17. I sought a new recording of the Concerto 17 and liked the pairing here.

I think kudos are due pianist Shelley and possibly more than that is due the London Mozart Players (David Juritz, leader) for their inspired play and the way they follow the lead of Shelley, who conducts from the piano.

Shelley has a wonderful tone and his technique is faultless. His shimmering slow movements are a perfrect foil to the high energy he provides in allegros. His tone is always bright and full, as good as it can be on a modern grand piano. The Mozart Players are fully with him all the way, all the time, and play with much gusto.

Shelley is a better conductor from the keyboard than most soloists that conduct their own recordings. There is typically a tendency to gloss over important solo parts in the orchestral tutti from virtuosos turned conductor. Not here, for evey important part in the orchestra is well-played and you can always hear it without the solo line being affected.

In addtion, Chandos' sound is truthful and full, bright without being overlit, with depth that mimics what you would hear in the best concert hall.

I don't count failures on this 1991 recording, which earned a three star rating in the Penguin Guide and arrived at my home with a stamp on the cover saying it was a three star selection in the Penguin Guide. What I will fault, though, is my disinterest in the Mozartian style taken by the soloist.

My main point of disinterest is the amount of pedal used by the soloist and the way it vibrates through the recording venue and recording itself. I thought this was simply too much of a romantic technique. The relative beauty of tone and sound is another fault line that produced a temblor for me. I am not akin to hearing such beautiful Mozart...Mozart patterned after Chopin.

My idea of appropriate Mozart is the way Brendel did the Concerto 17 in 1959 for his Vox Box recordings. I also enjoy the complete set of Mozart concertos by Rudolf Buchbinder. What these Germans have in common is a simpler, more pedal free and down to earth approach that lets me hear Mozart think.

This CD, by contast, gives you a lot of audio stimuli that, I believe, lets you know more about how Shelley feels about the music. If this sounds like something that appeals to you, then you will go ga-ga over this CD.

As my 4 star rating suggests, it is an above average performance by any standard, exceptionally well supported by the orchestra, and more than exceptionally well directed by the soloist, who may be a better conductor than pianist. Good notes fill out this package.

Average customer rating:

Authenticity Defined
Quite possibly the best single disc of Mozart piano music
My fifth CD of the 20th, it is far and away the best.
A delightfully different "Number 20", but much more.

Mozart: Piano Concertos, K453, K466

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000042HC
Release Date: 1997-08-12

Tracks:

Piano Concerto No. 17 In G Major, K453: I Allegro
Piano Concerto No. 17 In G Major, K453: II Andante
Piano Concerto No. 17 In G Major, K453: III Allegretto
Piano Concerto No. 20 In D Minor, K466: I Allegro
Piano Concerto No. 20 In D Minor, K466: II Romance
Piano Concerto No. 20 In D Minor, K466: III Allegro assai

Customer Reviews:

Authenticity Defined.......2006-01-29

After listening to Levin's masterly rendering of these concerti, can anyone really listen to any other? Levin makes moot the debate over the merits of using period instruments - after all, why should we philistines want to hear Mozart in any other way than that which he intended? I'll trust Mozart's judgement - and Levin's - without reservation. A fine acheivement. There is no substitute for this recording. And kudos to Hogwood, who strikes a perfect balance between "oomph" and tenderness, achieving perfect synergy with the fortepiano. Mozart knew the power of the orchestra and it shines here - particularly in K.466, as the lonely voice of the fortepiano struggles beautifully against the stormy pronouncements of the winds and strings (which are controlled masterfully by Hogwood).

Quite possibly the best single disc of Mozart piano music.......2000-08-19

Without a doubt, we have a winner. Even the packaging is great: an inexplicable Klee that just looks nice. I must say that Robert Levin has far outshined Malcolm Bilson and Jos van Immerseel in this repertoire. Hogwood's command over the players (including leader Andrew Manze) is amazing, as is the group's feeling for the music. Levin sparkles and shines and generally flourishes with this music, and while we'll never know how it sounded in Mozart's head, this has got to be nearly as good. The pairing of 17 and 20 is excellent, as you get to see cheerful, playful Mozart as well as the (somewhat rare) stormy Mozart- both in excellent form. I can't recommend this disc highly enough, for newcomers and old connoisseurs alike. The instruments all sound wonderful and the recording is very well done. We can only hope this excellent series is completed...I'd love to have the whole set.

My fifth CD of the 20th, it is far and away the best........1999-09-29

The entire output of Mozart Piano Concertoes by Robert Levin, Christopher Hogwood, AAM, Oiseau Lyre is marvelous. It is a shame that they didn't record all of PC 9-27.

A delightfully different "Number 20", but much more........1999-08-22

There is no doubt, one comes away from this CD with a profound respect for the artistry of Levin. One thing that the reviewer didn't mention is the wonderful account of the 17th concerto. In many ways, I enjoy it even more than the 20th on this CD. The D minor concerto sounds great on modern instruments, but I imagine that the 17th, with such a light, brillant character in the outer movements, must sound much, much better on period instruments. The first movement is pure delight, starting with an orchestral opening that benefits greatly from such transparency of sound. In the second movement, the fortepiano's limited sustaining power and thinner tone might be drawbacks (considering the slow and highly melodic nature of the music). But the brilliant, thrilling third movement makes up for it, under Levin's skillful fingers.