Piano Concertos 20 & 16

On this CD:

1. Piano Concerto No. 20 in D minor, K. 466
Composed by Wolfgang Amadeus Mozart
Performed by SWF Sinfonieorchester Baden-Baden with Rudolf Firkusny
Conducted by Ernest Bour

2. Piano Concerto No. 16 in D major, K. 451
Composed by Wolfgang Amadeus Mozart
Performed by SWF Sinfonieorchester Baden-Baden with Rudolf Firkusny
Conducted by Ernest Bour

Tracks:

Piano Concerto No. 19 In F, KV 459: Allegro Vivace
Piano Concerto No. 19 In F, KV 459: Allegretto
Piano Concerto No. 19 In F, KV 459: Allegro Assai
Piano Concerto No. 20 In D Minor, KV 466: Allegro
Piano Concerto No. 20 In D Minor, KV 466: Romance
Piano Concerto No. 20 In D Minor, KV 466: Allegro Assai
Rondo In D, KV 382: Allegretto Grazioso
Rondo In D, KV 382: Adagio
Rondo In D, KV 382: Allegro
Piano Concerto No. 23 In A , KV 488: Allegro

Tracks:

Piano Concerto No. 23 In A, KV 488: Adagio
Piano Concerto No. 23 In A, KV 488: Allegro assai
Piano Concerto #21 In C, KV 467: Allegro
Piano Concerto #21 In C, KV 467: Andante
Piano Concerto #21 In C, KV 467: Allegro Vivace Assai
Piano Concerto No. 24 in C Minor, KV 491: Allegro
Piano Concerto No. 24 in C Minor, KV 491: Larghetto
Piano Concerto No. 24 in C Minor, KV 491: Allegretto
Rondo In A, KV 386

Customer Reviews:

cherry picking.......2007-02-15

Pity Alfred Brendel, Neville Marriner, and the incomparable Academy of St Martin in the Fields having to play this luscious span of concertos from the sweet spot of Mozart's oeuvre.

If there is sweeter music in the universe, it must lie at the depths of the sea or some equally inaccessible place, far from eyes and ears that could compare it to Mozart's piano concertos no. 19-24.

Mozart's piano concerti, perhaps more than those of any other composer, shape the solo instrument's phrasing so that its entrances and exits vis-à-vis the orchestral score are nearly seamless. Brendel and his supporting cast perform this aspect of the music as well as can be done.

In the stellar Philips Classics 'Duo' series, this recording may well reign supreme. It's as good as it gets.

Brendel and Marriner play Mozart at a bargain price.......2006-08-18

Philip's two double-CD sets of Alfred Brendel and Neville Marriner performing a total of ten of Mozart's great piano concertos, plus two rondos for piano and orchestra, must rate as one of the best of many bargains available in their "2 for 1" series. The four CDs add up to close to five hours of music, most of it essential listening for anyone interested in Mozart, great piano music, and great concertos.

This first of the two sets contains four indisputable masterpieces. In the stormy D minor Concerto K. 466, Brendel springs a mild surprise by playing his own cadenzas rather than Beethoven's, the ones most often used. I must confess to preferring Beethoven's unstylish but dramatic and imaginative cadenza to the first movement, but otherwise the performance is beyond reproach. Brendel adds some discreet and entirely appropriate ornamentation to the many repetitions of the second movement's main theme. The Olympian C major K. 467, with its incomparably beautiful slow movement, also receives some much-needed decoration: here the cadenzas are by Radu Lupu and are a bit quirkier than necessary. Although the soloist's tone and phrasing in the wistful K. 488 are ravishing in the first two movements, the starker phrases of the F-sharp minor Adagio are better left undecorated--for once Brendel's practically unerring sense of propriety in added ornamentation goes slightly off. In my opinion the best of a superb set of performances is that of the C minor, K. 491: Brendel and Marriner catch every nuance of tragedy while never slighting the grace of the music--the problem of writing an appropriate first-movement cadenza, difficult since Mozart left none of his own, is brilliantly solved here by the soloist.

Although in a set billed as Mozart's "Great Piano Concertos" I might have opted, narrowly, for including K. 453 in G major over K. 459, it cannot be denied that all involved seem perfectly attuned to the quicksilver energy and unexpected contrapuntal intricacies of the F major work. The two additional rondo movements, one a lightweight replacement for the original finale of Mozart's very first original piano concerto, the other a possible alternate finale to his earlier A major Concerto K. 414, are a delightful bonus. Incidentally, although the splitting of K. 488 across two generously filled CDs is an annoyance, timing restrictions would not have permitted cramming three complete concertos onto one CD as another review suggests.

Mozart: The Great Piano Concertos, Vol. 1 Alfred Brendel.......2006-07-10

Nice interpretation of Mozart's piano concerto.

Mozart's great piano concertos, Vol 1 and Vol 2.......2006-07-10

We love Mozart. Especially his piano concertos. We purchased these volumes, because we wore out our cassette tapes.
Mozart piano concertos performed by Arthur Brendel and the Academy of St. Martin in the Fields, It does not get much better than that. 5 hours of music as a very reasonable price!

I even ordered a second set to give to a friend.

great pianist, great price, bad track listing.......2006-02-16

Alfred Brendel is one of the world's most famous pianists, but not for reasons that make Argerich, Paderewski, or Rubinstein famous. Brendel is an expert both artistically and technically but he is not given to highly individualistic interpretations that rattle purists and create controversy. In other words, Brendel is a highly reliable pianist. Like Murray Perahia, there are no let downs in his recorded performances. For this and the price, no one should pass up this 2 disc recording.

The only downside is the recording's track listing. Piano Concerto No. 23 is split: its first movement is in the first disc while its last two movements are in the second. Bewildering especially since the piano concertos are not sequenced chronologically. And the insert doesn't help. It does not explain the track arrangement (is it by the year of recording? by importance in Mozart's ouvre?). Nonetheless, there it is, Piano Concerto No. 23 separated into two cds. Why this has to be is difficult to understand. The first movement, allegro, is 11.04 minutes long; in the second disc, a one movement rondo, Rondo in A, KV 386, is 8.32 minutes long. Why wasn't this rondo placed in the first disc to allow a seamless playing of Piano Concerto No. 23?

This is annoying if your player does not support multiple disc playing. I bought this 2 cd set specifically for Piano Concerto No. 23, whose second movement I love. It is one of the most sublime of piano adagios, up there with the second movements of Chopin no. 1, Rachmaninoff no. 2, Shostakovich no. 2. And I bought it specifically for Brendel's performance with the ASMITF, conducted by Neville Marriner. Brendel really makes the piano weep here. His evocations of a human's cycle of grief and redemption make the performance definitive for Piano Concerto No. 23. If the split won't bother you, do yourself a favor and get a copy.

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Piano Works
Schubert: The Piano Sonatas
Chopin: The Piano Works
Brahms: Works for Solo Piano
Bach: Well-Tempered Clavier

ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Prokofiev: The Five Piano Concertos; Overture on Hebrew Themes

Average customer rating:

Not only for the performances and the recording quality --
Sheesh
I guess the score doesn't matter
Piano could stand out a little more
awesome and terrifying

Prokofiev: The Five Piano Concertos; Overture on Hebrew Themes

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Rachmaninoff Piano Concertos Nos. 2 & 3 / Rhapsody on a Theme of Paganini / Muti, Gavrilov
Prokofiev Plays Prokofiev
Saint-Saëns: Piano Concertos 1-5; Wedding Cake Caprice-Valse
Mikhail Pletnev - Prokofiev: Piano Sonatas nos. 2 - 7 - 8
Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD)

ASIN: B000002S09
Release Date: 1992-09-29

Tracks:

Piano Concerto No 1 In D Major, Op.10: I. Allegro Brioso
Piano Concerto No 1 In D Major, Op.10: II. Andante assai
Piano Concerto No 1 In D Major, Op.10: III. Allegro scherzando
Piano Concerto No 2 In G Minor, Op.16: I. Andantino - Allegretto
Piano Concerto No 2 In G Minor, Op.16: II. Scherzo (vivace)
Piano Concerto No 2 In G Minor, Op.16: III. Intermezzo (allegro moderato)
Piano Concerto No 2 In G Minor, Op.16: IV. Finale (allegro tempestuoso)
Piano Concerto No.3 In C Major, Op.26: I. Andante - Allegro
Piano Concerto No.3 In C Major, Op.26: II. Theme et variations
Piano Concerto No.3 In C Major, Op.26: III. Allegro ma non troppo

Tracks:

Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': I. Vivace
Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': II. Andante
Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': III. Moderato
Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': IV. Vivace
Piano Concerto No.5 In G Major, Op. 55: I. Allegro con brio
Piano Concerto No.5 In G Major, Op. 55: II. Moderato ben accentuato
Piano Concerto No.5 In G Major, Op. 55: III. Toccata (allegro con fuoco)
Piano Concerto No.5 In G Major, Op. 55: IV. Larghetto
Piano Concerto No.5 In G Major, Op. 55: V. Vivo
Overture on Hebrew Themes, Op. 34
Visions fugitives, Op. 22: No 1. Lentamente
Visions fugitives, Op. 22: No 2. Andante
Visions fugitives, Op. 22: No 3. Allegretto
Visions fugitives, Op. 22: No 4. Animato
Visions fugitives, Op. 22: No 5. Molto giocoso
Visions fugitives, Op. 22: No 6. Con eleganza
Visions fugitives, Op. 22: No 7. Pittoresco
Visions fugitives, Op. 22: No 8. Commodo
Visions fugitives, Op. 22: No 9. Allegretto tranquillo
Visions fugitives, Op. 22: No 10. Ridicolosamente
Visions fugitives, Op. 22: No 11. Con vivacita
Visions fugitives, Op. 22: No 12. Assai moderato
Visions fugitives, Op. 22: No 13. Allegretto
Visions fugitives, Op. 22: No 14. Feroce
Visions fugitives, Op. 22: No 15. Inquieto
Visions fugitives, Op. 22: No 16. Dolente
Visions fugitives, Op. 22: No 17. Poetico
Visions fugitives, Op. 22: No 18. Con una dolce lentezza
Visions fugitives, Op. 22: No 19. Presto agitatissimo e molto accentuato
Visions fugitives, Op. 22: No 20. Lento irrealmente

Customer Reviews:

Not only for the performances and the recording quality --.......2005-12-07

-- I even like the cover art!

Sheesh.......2003-11-05

I'm reading the reviews here because I just adore this recording and wonder why it's so rarely the recommended choice in CD guides, etc... Maybe there are individual moments in other recordings that surpass individual moments here, but as a whole I don't think any of the other sets are nearly as effective.

But anyway - the review below really annoyed me so I just wanted to weigh in: Beroff's is a really lovely rendition of the Visions Fugitives, and the "ppp" in question (that prompted my fellow reviewer to impress us all with his lordly inability to tolerate philistinism by hurling his CDs into the trash like the filth they are) - ahem - the "ppp" in question applies WITHOUT ANY DOUBT only to the inner voice - I don't know what edition Mr. Landkamer has, but the two that I just looked at both make special effort to place the "ppp" on the page in a way that communicates this. It also bears mentioning that this "ppp" does not appear in the first edition at all.

In conclusion: this set is an amazing deal and, regardless of what people say about Ashkenazy or Argerich or Richter or whomever else, is utterly satisfying. It's one of the few recordings of Prokofiev I've heard where the performance is GENUINELY CONVINCED of the idea that this music is utterly coherent and human. Even supposedly "sensitive" Prokofiev performances often underestimate the fluidity of his musical expression and decide to let things seem thorny and chaotic rather than doing the work necessary to clarify the enigmatic elements. Beroff and Masur are so in tune with the spirit of Prokofiev's screwball jokes and whimsically meandering emotions that you feel you're hearing the piece direct from the composer. Very rare thing, that. There are no more and no fewer fireworks in these performances than Prokofiev put in the score - which is plenty! - and I don't know about you but that's how I like my classical recordings.

I guess the score doesn't matter.......2003-04-26

A few minutes ago, for lack of anything better to do, I put on the Visions Fugitives as played by Michel Beroff on this CD. In bar 14 there is a two-note pickup starting a repeat of the opening melody, here marked "p semplice". Then, on beat 1 of the next bar, the marking is "ppp" implying that the repeat of the theme is to *begin* like a routine restatement but then shift without warning into a new, quieter dreamlike realm. Beroff makes ABSOLUTELY NO CHANGE at the ppp. It might as well not be there. These CD's are about to go into the trash.

There, gone.

Addendum (5/31/03)...I purchased another recording of Visions Fugitives, by Boris Berman, and he played this part the same way. Looking again at the score, I think I can see why...the ppp is being interpreted as applying only to the chromatically winding inner voice. I'm not certain that's right, but it's at least not completely unreasonable. Sorry, Michel, I take it all back.

(11/28/03) in response to my courageously anonymous fellow reviewer ("music fan" above) the edition I have is MCA and the ppp is placed between the upper an lower staves but somewhat above-center. I'm not sure this qualifies as a special effort to communicate the intent.

Piano could stand out a little more.......2002-09-21

I agree with other reviewers this is a very good recording, of very difficult works. But it is especially good for the orchestral part. I am not saying Beroff is not a good pianist dont get me wrong. I am just saying there is better.
For the piano (and those are PIANO concertos my friends :) I have to say that I like the Ashkenazy/Previn recording better especially for #2 and #3 The piano sounds much clearer and less hesitating. The opening of 4th movement of #2 for example is 100 times better as played by Ashkenazy. Those chords are so much more precisely dropped. The orchestra though in many passages is more overwhelming (as it should be in this piece) in the Beroff/Masur recording.
If you want the complete set. Get both this recording and the Ashkenazy/Previn. They complement one another really well.
Now if you want the best recording of #3. You want to get the Argerich/Abbado recording. It ROCKS its is way above any other. Better rythmic precision , better phrasing, faster tempo. It is just amazing.

awesome and terrifying.......2002-09-21

This CD is another example of good price, comprehensiveness, and outstanding quality combining to make a powerhouse recording. I cannot overstate how dazzling Beroff's performance is. To hear pianistic technique at its pinnacle, just listen to the cadenza of the Second Concerto's opening movement--it'll take your breath away (you'll swear that it cannot be played by just a single player--examining the score will compound the disbelief). Beroff's swift hammering, mastery of dynamics, and perfect grasp of both Prokofiev's wit and rage, will have you coming back to this CD set for years. Concerto No. 3, by the way, is the best performance I've heard besides that given by Martha Argerich. With expert performance by Maestro Masur and the Gewandhaus Orchestra, these five neoclassical works have rarely received such musical justice. The second CD also features Prokofiev's delightful ethnographic chamber piece, "Overture on Hebrew Themes," as well as his solo piano work, "Fugitive Visions" (not quite as notable as, say, his late sonatas). I consider this CD set one of the best in my collection, and I recommend it without any reservations.

Average customer rating:

Dated
My favorite Mozart Piano concerts
Luminous...
Remarkable performances!
Still among the best Mozart piano concerto cycles

Mozart: The Piano Concertos

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mozart: 46 Symphonies - Berlin Philharmonic / Karl Böhm
Mozart: The Piano Concertos
Schubert: The Piano Sonatas
Beethoven: The Complete Symphonies and Piano Concertos
Mozart: The Symphonies

ASIN: B00004YZ36
Release Date: 2002-05-14

Tracks:

Con No.6 in B flat, K.238: 1. Allegro Aperto
Con No.6 in B flat, K.238: 2. (Andante Un Poco Adagio)
Con No.6 in B flat, K.238: 3. Rondeau: Allegro
Con No.8 in C, K.246: 1. Allegro Aperto
Con No.8 in C, K.246: 2. Andante
Con No.8 in C, K.246: 3. Rondeau: Tempo Di Menutto
Con No.9 in E flat, K.271: 1. Allegro
Con No.9 in E flat, K.271: 2. Andantino
Con No.9 in E flat, K.271: 3. Rondeau: Presto - Menuetto: Cantabile - Tempo Primo

Tracks:

Con No.11 in F, K.413: 1. Allegro
Con No.11 in F, K.413: 2. Larghetto
Con No.11 in F, K.413: 3. Tempo Di Menuetto
Con No.12 in A, K.414: 1. Allegro
Con No.12 in A, K.414: 2. Andante
Con No.12 in A, K.414: 3. Allegretto
Con No.14 in E flat, K.449: 1. Allegro Vivace
Con No.14 in E flat, K.449: 2. Andantino
Con No.14 in E flat, K.449: 3. Allegro, Ma Non Troppo
Con No.2 in B flat, K.39: 1. Allegro Spiritoso
Con No.2 in B flat, K.39: 2. Andante
Con No.2 in B flat, K.39: 3. Molto Allegro

Tracks:

Con No.13 in C, K.415: 1. Allegro
Con No.13 in C, K.415: 2. Andante
Con No.13 in C, K.415: 3. Allegro
Con No.15 in B flat, K.450: 1. Allegro
Con No.15 in B flat, K.450: 2. (Andante)
Con No.15 in B flat, K.450: 3. Allegro
Con No.17 in G, K.453: 1. Allegro
Con No.17 in G, K.453: 2. Andante
Con No.17 in G, K.453: 3. Allegretto

Tracks:

Con No.16 in D, K.451: 1. Allegro
Con No.16 in D, K.451: 2. (Andante)
Con No.16 in D, K.451: 3. Allegro Di Molto
Con No.18 in B flat, K.456: 1. Allegro Vivace
Con No.18 in B flat, K.456: 2. Andante Un Poco Sostenuto
Con No.18 in B flat, K.456: 3. Allegro Vivace
Con No.19 in F, K.459 'Coronation': 1. Allegro Vivace
Con No.19 in F, K.459 'Coronation': 2. Allegretto
Con No.19 in F, K.459 'Coronation': 3. Allegro Assai

Tracks:

Con No.20 in d, K.466: 1. Allegro
Con No.20 in d, K.466: 2. Romance
Con No.20 in d, K.466: 3. (Allegro Assai)
Con No.21 in C, K.467: 1. Allegro
Con No.21 in C, K.467: 2. Andante
Con No.21 in C, K.467: 3. Allegro Vivace Assai
Con No.1 in F, K.37: 1. Allegro
Con No.1 in F, K.37: 2. Andante
Con No.1 in F, K.37: 3. (Allegro)

Tracks:

Con No.22 in E flat, K.482: 1. Allegro
Con No.22 in E flat, K.482: 2. Andante
Con No.22 in E flat, K.482: 3. Allegro
Con No.23 in A, K.488: 1. Allegro
Con No.23 in A, K.488: 2. Adagio
Con No.23 in A, K.488: 3. Allegro Assai
Con No.3 in D, K.40: 1. Allegro Maestoso
Con No.3 in D, K.40: 2. Andante
Con No.3 in D, K.40: 3. Presto

Tracks:

Con No.24 in c, K.491: 1. Allegro
Con No.24 in c, K.491: 2. Larghetto
Con No.24 in c, K.491: 3. (Allegretto)
Con No.25 in C, K.503: 1. Allegro Maestoso
Con No.25 in C, K.503: 2. Andante
Con No.25 in C, K.503: 3. (Allegretto)
Con No.5 in D, K.175: 1. Allegro
Con No.5 in D, K.175: 2. Andante, Ma Un Poco Adagio
Con No.5 in D, K.175: 3. Allegro

Tracks:

Con No.26 in D, K.537 'Coronation': 1. Allegro
Con No.26 in D, K.537 'Coronation': 2. (Larghetto)
Con No.26 in D, K.537 'Coronation': 3. (Allegretto)
Con No.27 in B flat, K.595: 1. Allegro
Con No.27 in B flat, K.595: 2. Larghetto
Con No.27 in B flat, K.595: 3. Allegro
Con No.4 in G, K.41: 1. Allegro
Con No.4 in G, K.41: 2. Andante
Con No.4 in G, K.41: 3. Molto Allegro

Customer Reviews:

Dated.......2007-05-31

In its time, this cycle of concertos was state-of-the art.

Even today, some of the performances hold up fairly well. But overall, the sound and performance are quite dated.

The orchestral playing in this set was never the greatest, too-often a bit ragged, and intonation in the strings is occasionally hit-and-miss. The winds were quite good for the time, being a bunch of big-time soloists of that era (including people like flutist Aurele Nicolet)...but even they sound a little out at times.

Anda's playing was reasonably stylish for the time. Certainly better than that of many pianists who came later. But given the evolution of Mozart-style in the last 40 years, his playing now sounds a little too plain-jane. Nothing wrong with just playing the music, but Anda is a bit too uninflected to be interesting. And, like nearly every other pianist who should know better, he plays the inferior publisher's solo part for #26...an unforgiveable act even then.

Still, all-in-all, hard to beat for the money, and an adequate introduction to some of Mozart's greatest music, but only adequate. Barely. Anda is eclipsed almost completely by Bilson and Gardiner. By Immerseel and Anima Aeterna, and would have been totally eclipsed by Levin and Hogwood, had they completed that much-lamented incomplete cycle.

Barenboim, Ashkenazy, Uchida and Perahia are all tastelessly un-stylish. To my ears, those recordings are just about unlistenable, in their day, and now. Anda beats these handily. But they are not the standard these days. They never were.

For the record, Andreas Staier and Concerto Koln are the new standard in this repertoire..it is truly tragic that Staier has not recorded any more Mozart concertos, beyond the four he did some seven years ago now.

Too bad Ivan Moravec never recorded all the Mozart concertos. That would have been something to hear. The ones he did record are right at the top of the heap, for sure.

I'd probably go with Brendel if you want a complete cycle with modern piano. Hard to beat Brendel in anything, although the ASMIF is a mediocre band at best, and you can only wish Brendel had recorded with someone else.

In short, finding top-flight Mozart piano concerto recordings, even now, with the enormous number of them out there, is still a hit/miss proposition. And finding a complete cycle on modern piano that really *gets* Mozartean style, is damned near impossible. That would be a real milestone in recording history: a cycle of Mozart piano concertos, with modern instruments, that truly delivers stylistically, and the pianist plays with the kind of freedom Mozart would have, not following the score so slavishly as nearly all recordings do, including, especially, Anda, who should have known better.

No-one's done it yet. But, maybe someone will, someday.

My favorite Mozart Piano concerts.......2007-01-11

The delivery time from Amazone was shorter than I expected.
And I have been very satisfied with the CDs.

Thanks.

Luminous... .......2006-09-27

This is an outstanding set of music, of any variety/vintage. The interpretations of all the concerti are luminous and iridescent. They bring to mind Liszt's observation about Mozart being "music's genius of light and love". I prefer them, without reservation, to the Perahia set which I also possess. All the concerti are lively and with such splendid insights, that it would appear that one is hearing several of the movements for the first time.
I heard them sequentially from #1 to #27, and cannot find words to do justice to the last concerto, which is one of my favorites. Rather than merely being slower than normal, or melancholy, it is so suspended between the earth and the sky, that one feels lifted into some alternate sphere of existence. The outcome of this magic is that when the 6/8 time of the finale is first heard, one is left gasping for air. This is the finest and most satisfying interpretation of #27 I have ever heard. My only complaint is with #24, in that it does not aspire to the symphonic reaches it attains with Wilhelm Kempff at the pianoforte, but then that I hold true for every other interpretation of that concerto as well.
All in all, a genuinely beautiful and lovely set for anyone who loves the Mozart piano concerti and hears them as frequently as do I. Recommended without reservation!

Remarkable performances!.......2006-01-02

Geza Anda possesed an unique and enviable (in the best sense of the word)rapport with Mozart. There are versions that must be underlined among the most pyramidal ever done. His First, Fifth, Sixth, Ninth, 12th,the 15th, the 19th,23th and 27th justify by far its acquisition.

Geza Anda received an invaluable influence of thwo superb musicians; the unforgettable Clara Haskil and the hyper talented Hungarian conductor, Ferenc Fricsay.

Playing and conducting from the Piano he played regularly in Salzburg Festivals, being his sound pristine and crystalline. His excellent approach and above all, his formidable pianism, conform one of the most indispensable sets of these Piano Concertos.

Specially recomended in this special year 2006 in which all of us will commemorate the 250th anniversary of this sublime composer.

Still among the best Mozart piano concerto cycles.......2004-12-06

During his lifetime Geza Anda was acknowledged as among the foremost interpreters of Mozart's piano scores, perfoming annually at the Salzburg Festival towards the end of his life. His Mozart piano concerto cycle was the first to be recorded almost in its entirety by one soloist and orchestra. It was also the first to have the orchestra under the soloist's direction. Recorded over the span of several years, these performances still sound quite vividly clear and crisp. The sound quality on these recordings is absolutely first rate. Credit is due to Deutsche Grammophon's recording engineers; these are some of the label's best recordings from the 1960's. As a soloist, Anda gives introspective, yet passionate, readings of Mozart's scores which lack the exuberance of Daniel Barenboim's performances with the English Chamber Orchestra, but are as polished as Alfred Brendel's with the Academy of Saint Martin in the Fields under Sir Neville Marriner's direction. Most noteworthy are his performances of the 14th, 17th, 20th, 21st, 24th, 26th and 27th concerti, but the others sound fine too. Fans of Mozart's piano concerti will not be disappointed with this inexpensive CD set, which still holds its own against its more recent, better recorded competition from the likes of Perahia and Uchida, to name but a few.

Average customer rating:

Sound quality poor
Warmth and humour of Mozart
A genius in his invaluable youth!
Barenboim
Great performances of inspired music

Mozart: The Complete Piano Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Mozart:The Complete Piano Sonatas and Variations
Mozart: Chamber Music
Mozart: 51 Symphonies
Beethoven: Complete Piano Sonatas / Daniel Barenboim
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B00000C2KO
Release Date: 1998-10-20

Tracks:

Piano Concerto No. 1 In F Major, K 37: I. Allegro
Piano Concerto No. 1 In F Major, K 37: II. Andante - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 1 In F Major, K 37: III. Rondo - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 2 In B Flat Major, K 39: I. Allegro spiritoso - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 2 In B Flat Major, K 39: II. Andante
Piano Concerto No. 2 In B Flat Major, K 39: III. Molto allegro
Piano Concerto No. 3 In D Major, K 40: I. Allegro maestoso - Cadenza (Mozart) - Tempo I
Piano Concerto No. 3 In D Major, K 40: II. Andante
Piano Concerto No. 3 In D Major, K 40: III. Presto
Piano Concerto No. 4 In G Major, K41: I. Allegro - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 4 In G Major, K41: II. Andante
Piano Concerto No. 4 In G Major, K41: III. Molto allegro - Cadenza (Barenboim) - Tempo I

Tracks:

Piano Concerto No. 5 In D Major, K 175: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 5 In D Major, K 175: II. Andante ma un poco adagio - Cadenza (Mozart) - Tempo I
Piano Concerto No. 5 In D Major, K 175: III. Allegro - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 6 In B Flat Major, K 238: I. Allegro aperto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 6 In B Flat Major, K 238: II. Andante un poco adagio - Cadenza (Mozart) - Tempo I
Piano Concerto No. 6 In B Flat Major, K 238: III. Rondeau (Allegro) - Cadenza (Mozart) - Tempo I
Piano Concerto No. 8 In C Major, K 246 'Lutzow': I. Allegro aperto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 8 In C Major, K 246 'Lutzow': II. Andante - Cadenza (Mozart) - Tempo I
Piano Concerto No. 8 In C Major, K 246 'Lutzow': III. Rondeau- Tempo di menuetto

Tracks:

Piano Concerto No. 9 In E Flat Major, K 271: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 9 In E Flat Major, K 271: II. Andantino - Cadenza (Mozart) - Tempo I
Piano Concerto No. 9 In E Flat Major, K 271: III. Rondeau: Presto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 25 In C Major, K 503: I. Allegro meastoso - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 25 In C Major, K 503: II. Andante
Piano Concerto No. 25 In C Major, K 503: I. Allegretto
Concert Rondo For Piano And Orchestra No. 1 In D Major, K 382

Tracks:

Piano Concerto No. 11 in F Major, K 413: I. Allegretto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 11 in F Major, K 413: II. Largetto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 11 in F Major, K 413: III. Tempo di Menuetto
Piano Concerto No. 12 In A Major, K 414: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 12 In A Major, K 414: II. Andante - Cadenza (Mozart) - Tempo I
Piano Concerto No. 12 In A Major, K 414: III. Allegretto - Cadenza (Mozart) - Tempo I
Piano Concerto No. 13 In C Major, K 415: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 13 In C Major, K 415: II. Andante
Piano Concerto No. 13 In C Major, K 415: III. Allegro - Adagio - Allegro

Tracks:

Piano Concert No. 14 In E Flat Major, K 449: I. Allegro vivace - Cadenza (Mozart) - Tempo I
Piano Concert No. 14 In E Flat Major, K 449: II. Andantino
Piano Concert No. 14 In E Flat Major, K 449: III. Allegro ma non troppo
Piano Concerto No. 15 In B Flat Major, K 450: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 15 In B Flat Major, K 450: II. Andante
Piano Concerto No. 15 In B Flat Major, K 450: III. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 16 In D Major, K 451: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 16 In D Major, K 451: II. Andante
Piano Concerto No. 16 In D Major, K 451: III. Allegro di molto - Cadenza (Mozart) - Tempo I

Tracks:

Piano Concerto No. 17 In G Major, K453: I. Allegro - Cadenza (Mozart, arr. Barenboim) - Tempo I
Piano Concerto No. 17 In G Major, K453: II. Andante - Cadenza (Mozart) - Tempo I
Piano Concerto No. 17 In G Major, K453: III. Allegretto
Piano Concerto No. 26 In D Major, K 537 'Coronation': I. Allegro - Cadenza (Wanda Landowska) - Tempo I
Piano Concerto No. 26 In D Major, K 537 'Coronation': II. Larghetto
Piano Concerto No. 26 In D Major, K 537 'Coronation': III. Allegretto

Tracks:

Piano Concerto No. 18 In B Flat Major, K 456: I. Allegro vivace - Cadenza (Mozart) - Tempo I
Piano Concerto No. 18 In B Flat Major, K 456: II. Andante un poco sostenuto
Piano Concerto No. 18 In B Flat Major, K 456: III. Allegro vivace - Cadenza (Mozart) - Tempo I
Piano Concerto No. 19 In F Major, K 459: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 19 In F Major, K 459: II. Allegretto
Piano Concerto No. 19 In F Major, K 459: III. Allegro assai - Cadenza (Mozart) - Tempo I

Tracks:

Piano Concerto No. 20 In D Minor, K 466: I. Allegro - Cadenza - Tempo I
Piano Concerto No. 20 In D Minor, K 466: II. Romanze
Piano Concerto No. 20 In D Minor, K 466: III. Rondeau: Allegro assai - Cadenza - Tempo I
Piano Concerto No. 24 In C Minor, K 491: I. Allegro spiritoso - Cadenza - Tempo I
Piano Concerto No. 24 In C Minor, K 491: II. Larghetto
Piano Concerto No. 24 In C Minor, K 491: III. Allegretto

Tracks:

Piano Concerto No. 21 In C Major, K 467: I. Allegro maestoso - Cadenza - Tempo I
Piano Concerto No. 21 In C Major, K 467: II. Andante
Piano Concerto No. 21 In C Major, K 467: III. Allegro vivace assai - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 27 In B Flat Major, K 595: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 27 In B Flat Major, K 595: II. Larghetto
Piano Concerto No. 27 In B Flat Major, K 595: III. Allegro - Cadenza (Mozart) - Tempo I

Tracks:

Piano Concerto No. 22 In E Flat Major, K 482: I. Allegro - Cadenza (Barenboim) - Tempo I
Piano Concerto No. 22 In E Flat Major, K 482: II. Andante
Piano Concerto No. 22 In E Flat Major, K 482: III. Rondo: Allegro - Cadenza (Edwin Fischer) - Tempo I
Piano Concerto No. 23 In A Major, K 488: I. Allegro - Cadenza (Mozart) - Tempo I
Piano Concerto No. 23 In A Major, K 488: II. Adagio
Piano Concerto No. 23 In A Major, K 488: III. Allegro assai

Customer Reviews:

Sound quality poor.......2006-04-26

The sound quality is poor and the balance no good.

Disappointing from a major company such as EMI and major performer such as Barenboim.

Their similar set of Beethoven sonatas with Barenboim (70s) is much more acceptable.

Warmth and humour of Mozart.......2006-03-23

We bought this as a gift for a friend, as we already own it, and think it is the best thing in our CD library. Barenboim brings out the humour and the warmth in the concertos without being over-romantic, and brings emotional richness to his performance - in great contrast to the rather mechanical and cold renditions by other performers who are supposed to be Mozartian 'experts'. We think Amadeus would approve whole-heartedly of these performances.

A genius in his invaluable youth!.......2005-03-30

When Daniel Barenboim decided to face the huge challenge of playing the Complete Set of Piano Concerts he was making (without knowing at this moment)one of his multiple artistic triumphs.
The first impressive detail to remark is the convincent maturity and silent self discipline self impossed by himself. But the genius of Barenboim's playing is the absolute conviction he always sounds so natural. And hardly you will find the minimum sensation of effort as you just can feel it with Brendel for instance.
I still have these recordings in vynil format and from time to time I compare both formats. Go for these records and you will not only enjoy to Mozart's genius but the grandness of a real Keyboard Giant in his twenties.
After the wise decision to perform and conduct the orchestra from the piano, the interpretations acquired a major enrichment and enlightment, and somehow these recordings constitute the previous step for that decision.
To make a major disection of Concert by Concert would be extremely interseting but it would be equally long. There are some higlights performances and in my opinion these are: The 24th, 23th, 19th,12th, 25th, 14th, 15th and the first six.
In honor to the truth there are unbeatable major versions in other performances.
The 9th I find to Geza Anda, the 18 th Andras Schiff, 20th Myra Hess with Walter in last fifties, 21 th Casadesus and Munch in the last forties not available in CD format, 22th Fisher and Serkin, 26 th Gulda Harnoncourt, 27th Haskill and Curzon.
Absolutely recommended for every real Mozart's admirer.

Barenboim.......2005-03-17

Daniel Barenboim is one of the best pianists around. He DOES NOT play Mozart too Beethoven-like. I love these recordings, and as a pianist myself, I know that Barenboim delivers very good performances of these beautiful pieces. This set is also probably just as good as the $150 Marriner/Brendel set, and at a fraction of the price. The sound quality is very good. HIGHLY recommended.

Great performances of inspired music.......2004-11-06

This set is beautifully performed and is also priced competitively. I am very satisfied with my purchase, though I'm sorry it doesn't include the concertos for 2 and 3 pianos.

Barenboim's own cadenzas are enjoyable. I don't notice any lack of maturity in the playing, but this may be my inexperience!

Some prefer Ashkenazy, but it is quite a bit more expensive [though it does include those works just mentioned].

I am confident most readers will be very happy with this set.

Highly recommended

Average customer rating:

Excellent and inexpensive
Satisfying, "old-school" Mozart
Pretty Good
EXCELLENT SELECTION AND INTERPRETATIONS
Ashkenazy on a Classical era adventure...

Mozart: Great Piano Concertos

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Bach: Brandenburg Concertos / Orchestra of the Age of Enlightenment
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Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Brahms: Piano Trios Nos. 1 & 2
Tchaikovsky: Symphony 6 "Pathétique" in B minor Op. 74

ASIN: B0000041LF
Release Date: 1997-08-26

Tracks:

Piano Concerto No.21 In C Major, K467: I. Allegro maestoso
Piano Concerto No.21 In C Major, K467: II. Andante
Piano Concerto No.21 In C Major, K467: III. Allegro vivace assai
Piano Concerto No.24 In C Minor, K491: I. Allegro
Piano Concerto No.24 In C Minor, K491: II. Larghetto
Piano Concerto No.24 In C Minor, K491: III. Allegretto
Piano Concerto No.25 In C Major, K503: I. Allegro maestoso

Tracks:

Piano Concerto No.25 In C Major, K503: II. Andante
Piano Concerto No.25 In C Major, K503: III. Allegretto
Piano Concerto No.23 In A Major, K488: I. Allegro
Piano Concerto No.23 In A Major, K488: II. Adagio
Piano Concerto No.23 In A Major, K488: III. Allegro assai
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. Rondo Allegro assai

Amazon.com

Decca has gotten around the perennial problem of filling Mozart Piano Concerto CDs by splitting No. 25 between two discs, giving us 155 minutes of Mozart for the price of a single top-line CD. The performances are top-line, too, if you like big-orchestra Mozart. Ashkenazy performs this music in a public, large-auditorium style, without the intimacy or niceties we hear from period instruments or from such pianists as Richard Goode and Mitsuko Uchida. His own cadenzas for three of the concertos are also very extroverted--and, alas, not very imaginative. Also, there are a few moments when the orchestra might have benefited from a firmer hand on the tiller than the pianist-conductor can provide. Overall, though, these are dramatic, involving Mozart performances, even if their style belongs more to the past than to the present. --Leslie Gerber

Customer Reviews:

Excellent and inexpensive.......2007-05-29

These are fabulous performances that contain all the richness, depth, and emotional movement of Mozart's best (or, one could say, most famous) piano concertos. Especially great are the performances of the 21st, 25th, and the 23rd. The 23rd on disc 2 is by far the best one I've ever heard.

This is a great buy!

Ashkenazy has a knack for putting together all that listeners want on convenient two disc sets...and they rarely disappoint. See his "Favourite Beethoven Piano Sonatas" for a similar treat.

Satisfying, "old-school" Mozart.......2005-05-07

Vladimir Ashkenazy's complete cycle of Mozart piano concertos was originally issued in the late 70s-early 80s, and holds up well, on the evidence of this bargain-priced 2-CD set of five of the most famous of these works. The pianist's approach tends toward the large-scale and deliberate. This works particularly well in the majestic C major Concerto K. 503 (one is made aware of how this work influenced Beethoven's own G major Concerto) and the tragic C minor work, K. 491. He is supported by beautiful playing from the Philharmonia Orchestra, whose strings lend a magical sheen to the Romantic melodies of the famous "Elvira Madigan" slow movement of K. 467. Ashkenasy's playing is fittingly sparkling in passagework and as transparent as a modern Steinway concert grand can be. By today's standards of historical performance the orchestra is large, some of the slow movements could have used a bit more ornamentation, and the pianist's own cadenzas to K. 467, 491 and 503 wander a bit too far afield harmonically; but these are small quibbles in otherwise enjoyable performances.

Pretty Good.......2005-04-28

I grew up listening to Rudolph Serkin play these pieces. He will always be the gold standard on Mozart piano concertos as far as I'm concerned. I gave this album 3 stars instead of 4 solely for Ashkenazy's weak play on the 3rd movement of the 20th Concerto. It didn't have the passion or fire I've come to expect from that movement. In fact, me personally, I think the whole set lacks a certain fire. I don't claim to be an expert, but his work on Mozart is nowhere near as good as his work on Beethoven. And other masters are much better at Mozart, in my opinion.

EXCELLENT SELECTION AND INTERPRETATIONS.......2004-03-04

I received this 2 cd set as a gift and have played it many times - especially the slow movements which are so ethereal and soul-wrenching - and notably Vladimir Ashkenazy's interpretations of the concertos numbers 23, 24, and 20.

The pianist is ably assisted by the incomparable Philharmonia Orchestra and the sound - for the most part - is more than adequate. Three of the concertos are DDD and two are ADD - but that does not detract in any way from the excellence of Ashkenazy's "view" on Mozart nor do the transfers diminish the artistry of Ashkenazy and the Philharmonia Orchestra.

A great buy and one that should be in all collections even if you have other interpretations; he even surpasses Alfred Brendel at times in some of the concertos - notably Nr. 23 in A major, K488

Timothy Wingate from Ottawa, Canada

Ashkenazy on a Classical era adventure..........2004-02-26

Hi to All

I am a very conservative fan of Mozart. I always buy one work from different performers to find the best for my soul...If the topic is Mozart I examine more carefully...I was very worried about Ashkenazy's Mozart interpretation before I listen to this cd...After I listened this cd I saw that there was nothing to get worried about :)
I always see and feel Ashkenazy as the king of the romantic era...He gives a great feeling to this Era's music...he touches to your soul..that was why I was worrying about his performance on Mozart...Because Classical era has a very different style of performing...and Mozart has much more difference even its in own era...on this cd we see the influence of his romantic interpretation...but it doesnt disturb you...it even adds something new to the mozart soul...maybe I felt this because of the piano's tone but sometimes you feel like it has to continue like a chopin ballade or a rachmaninov prelude...
Overall it is a touching performance of Mozart's piano concertos...especially in the second movement of 23th piano concerto in A maj...but it is not a mozartaen kind...
Romantic interpretation of this Great Music...something different and sounds nice...

Tracks:

Piano Concerto No. 20 In D Minor: 1. Allegro
Piano Concerto No. 20 In D Minor: 2. Romance
Piano Concerto No. 20 In D Minor: 3. Allegro Assai
Concerto No. 21 In C, KV 467: 1. Allegro
Concerto No. 21 In C, KV 467: 2. Andante
Concerto No. 21 In C, KV 467: 3. Allegro Vivace Assai

Amazon.com essential recording

Mozart's greatest piano concertos bring together so many elements identified with his style that they offer an ideal introduction to their composer's uniqueness. This is especially the case with the well-loved pair Nos. 20 and 21, which were produced in one fertile outburst in 1785. Here you will find both the dramatic flair and the comic high spirits of Mozart's tragic and comic operas, the last symphonies' breadth and polyphonic ingenuity (especially in the lengthy first movement of No. 21), and the conversational intimacy of the chamber music. This recording is one of several collaborations between conductor Jeffrey Tate and Mitsuko Uchida. In the wake of such legendary interpreters as Clifford Curzon, the Japanese pianist established a reputation in the '80s as one of the finest contemporary Mozarteans for her combination of poetic sensitivity and thoughtful involvement. Uchida plays with characteristic poise and never settles for superficial prettiness of sound (notice, for example, the sense of suspense she brings to the extended trill left hovering shortly into the soloist's entrance in No. 21). The restless, tragic momentum of No. 20 glows with inner fire, while Uchida's singing grace of line conveys an almost vocal warmth. There is sympathetic balance of soloist against orchestra (which features superb contributions from the winds), as well as a sure grasp of Mozart's larger structural symmetries. As an alternative to the extremes of period-instrument orthodoxy and romantic excess, this disc belongs in the collection of any lover of Mozart. --Thomas May

Customer Reviews:

The best Concerto No.20 (K466) available.......2007-05-03

I've listened to interpretations from Brendel, Anda, Barenboim, Arrau, and countless others, and I have to say after careful considerations that this version with Uchida and Tate is simply the best. I've noticed that the others all take the 2nd movement too fast, whereas the true beauty is fully revealed when played slower, as it is done here.

Mozart: Piano Concertos Nos. 20 & 21.......2006-11-12

Mozart: Piano Concertos Nos. 20 & 21~ Wolfgang Amadeus Mozart is a brilliant recording and Uchida does such a fine job playing the piano the Mozart himself would have been pleased. Jeffrey Tate also does a bang up job and one most give him praise for his fine work on this recording. Mozart's music is so accomplished and refined that only three other composers can even said to come close to his talent and skill (Beethoven, Bach and Wagner). Mozart has the ability to make his music sound very simple and easy to play but if one examines a score for a piece written by Mozart then one realizes the complexity and nuances that Mozart is able to put into his "simple" sounding music. This recording per se is a stroke of true brilliance and I definitely give it 5 out of 5 stars without any reservations whatsoever.

Wonderful!.......2004-05-29

Mozart was one of a kind! Truly beautiful piano work.

Yummy, some delicious moments.......2003-01-12

As the saying goes, "Mozart is Music" and Uchida is Mozart! On this recording, you have two of the most popular Mozart piano concertos in modern performance(that is, played on a very big grand piano--not a fortepiano as they would've been in Mozart's day).

Uchida is crisp and technically correct, though perhaps, as some other reviewers have noted,lacking the passion of other artists' recordings. In the familiar No. 21 ("Elvira Madigan") the cadenzas are Uchidas. In No. 20 the cadenzas are Beethovens--thrilling!

The recording sounds as if it was done in a marble hall of a very grand Chateau, although it was probably done in Waltham Town Hall, London, with some discrete manipulation of the sound. The result is rich and resonant.

I'd personally recommend this for a classical music enthusiast who wanted just one CD of Mozart concertos. But perhaps its even better as a slightly obscure recording to give to a friend who already has a CD by another pianist. It's worth it for the track 3 cadenza alone.

Genial.......2002-01-26

I'm okay with Samantha's comments about the conjuntion betwen orchestra and solo (Uchida). They are in occasions at different intensity or dinamic. Orchestra was a little short. I recommend so the Geza Anda's version of the 21 concerto (sublime).

Jacques Loussier Trio: Mozart Piano Concertos 20/23

Average customer rating:

Good, but...
Good impersonation

Jacques Loussier Trio: Mozart Piano Concertos 20/23

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Jazz | Styles | Music
Similar Items:

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ASIN: B000B8N4TU
Release Date: 2005-10-25

Tracks:

Allegro
Romance
Rondo Presto
Allegro
Adagio
Allegro Assai

Customer Reviews:

Good, but..........2006-12-24

This jazz trio is best at interpreting impressionist classics, i.e., "Jacques Loussier Trio Plays Satie", which I highly recommend. While some of the most beautiful and creative music issues from "musical hybrid", and this trio is the best of this genre, "Mozart Piano Concertos 20/23" falls short in some places. For example, the Jacques Loussier Trio's treatment of the Romance movement of Concerto No. 20 in D Minor truly annoys due to the trap set, loud brushes et al. This passage is perhaps the most "impressionistic" part of Mozart's concerto and yet the other musicians do their best to disrupt Loussier's majestic piano work that undulates like the surf unfolding on a beach. Of course, like the pros they are, this music is redeemed in the end but I can't help feeling the trio was a little out of their element with Mozart.

Good impersonation.......2006-02-28

Some of Loussier's attemps in the near past have blatantly back-fired. Ironically, such is the case with his own compatriot composers. This attempt is a nice take on two beloved piano concertos by Mozart, which includes some swinging counterpoint with a string orchestra.
Even though time has shown that only Bach's music can successfuly withstand this kind of treatment, at least this CD is not as boring as previous installments.
During the 70's Loussier released an astute and bouncy take on Bach's Brandenburg Concerto No 5 (with orchestra also) on DECCA Phase 4. Would Polygram re-release it one day, please? It would be a great addition to those who discovered Loussier later on.

Average customer rating:

Pretty Definitive Wieniawski
initiation for me..;-)
Great Performances!
Passable but not great
Wonderful

Wieniawski: Violin Concertos Nos. 1 & 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Wieniawski: Virtuoso Music for Violin
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ASIN: B000001GFF
Release Date: 1992-08-11

Tracks:

Concerto For Violin And Orchestra No. 1 In F Sharp Minor: Allegro moderato
Concerto For Violin And Orchestra No. 1 In F Sharp Minor: Preghiera. Larghetto
Concerto For Violin And Orchestra No. 1 In F Sharp Minor: Rondo. Allegro giocoso
Concerto For Violin And Orchestra No. 2 In D Minor: Allegro moderato
Concerto For Violin And Orchestra No. 2 In D Minor: Romance. Andante non troppo
Concerto For Violin And Orchestra No. 2 In D Minor: Allegro con fuoco - Allegro moderato (a la Zingara)
Legende in G minor op. 17: Andante - Allegro moderato - Tempo I
Zigeunerweisen Op. 20: Moderato - Lento - Un peu plus lent - Allegro volto vivace

Amazon.com

Good violin music and good music are not always the same thing, and Wieniawski's violin works are a case in point. Though extremely effectively written for the soloists, in most other departments--orchestration, melodic interest, formal ingenuity--they remain distinctly second-rate, which may be why they seem to have fallen out of favor recently. Given great fiddling, however, they can be made to sound like great music, and Gil Shaham is unquestionably a great fiddler. He glides through the quick music with the ease of an Olympic bobsled champion, and injects real soul into Wieniawski's meditative moments. Sarasate's works offer many of the same strengths and weaknesses as Wieniawski's, and Shaham dispatches the music's numerous technical challenges with similar boldness and zest. There's always room in the catalog for playing that is this accomplished. --David Hurwitz

Customer Reviews:

Pretty Definitive Wieniawski .......2006-06-02

I usually prefer to review CD's that have not been reviewed, but for Wieniawski I shall make and exception.

These two concertos actually do not begin with Wieniawski, but with Nicolo Paganini. Paganini, with his 6 violin concertos actually pioneered and epitomized a whole new type of concerto form, the showpiece. The showpiece concerto emphasized the fantastical, the showmanship, and the virtuosity of the performer. This came largely at the expense of depth or any great profundity. Wieniawski borrowed heavily from his predecessor whom he greatly admired.

The first concerto, (Which you really could call Paganini's 7th) is far and away the superior of the two in terms of compositional structure. I also feel it is the far more enjoyable and interesting musically. It is beyond me as to why the second is far more popular. The opening movement, with its flowing strings and orchestral adornments is a masterpiece of form, and the closing rondo of the first concerto could have been written by Paganini himself. The second concerto, while clearly an inferior work to the first, is still good. It is certainly not bereft of catchy melodies, or dazzling displays of performer virtuosity, both the principle hallmarks of Wieniawski. So if that's your shtick you can't go wrong with this CD. And for the conscientious listener, I would also strongly advise buying it with the complete Paganini concertos as played by Accardo and also done for the Deutsche Grammophon label.

Perhaps the greatest tragedy of all is the fate Wieniawski's Legende. I heard it first on this CD and have decided that it is one of the most beautiful pieces I've ever heard. Wieniawski wrote it for certain girl who he was infatuated with. It is almost never performed by orchestras today and is largely removed from the standard repertoire. This is very sad. It is not a showpiece work like the concertos. It is filled with deep emotion and expressive lyrical content. The Legende is juxtaposed against Sarasate's "Zigeunerweisen," a markedly inferior violin concert showpiece which is not really worth any further mention.

As to the quality of the performances themselves one could conceivably nitpick forever over the tiniest of details. Is Isaac Stern's Wieniawski vastly superior to Shaham's? The answer is no. Maybe Stern with his age and experience slightly outperforms Shaham on the second concerto.......slightly. But we should keep things in perspective. Gil Shaham is not a flavor of the month violinist or a performing monkey. He is internationally recognized by audiences and critics alike as one of the finest violinist living in the world today. And that's good enough for me.

This CD is a must have for any violin aficionado, or anyone who can appreciate what they have to offer.

Highly Recommended

Rembrandt Q. Einstein

initiation for me..;-).......2006-04-16

My favorite classical CD when I started listening to clasical.... now, 8 years later, I haven't found another classical CD That is more dearly loved.. I searched out other violinists because of some critics about Gil... If anyone is better, hell that will be unthinkable!!But, I never ever love anyone else more than gil playing all the songs on this CD.. a king of violin to me.. I have listened to this Cd with many many high-end audio systems costing $20,000 plus and many systems couldn't really express the dynamic and details from Gil.. Good solid state systems are actually better than tube systems for the tiuny details on this CD..I guess that's the problems for the bad feedbacks...happy Happy listening.. passionate, dynamic, sweet tone, heart-breaking emotion and great technigue/sound quality....

Great Performances!.......2005-10-18

Although I do agree with many points presented by the reviewer below, I find his criticism somewhat excessively harsh against someone of Shaham's talents. Although perhaps he is somewhat of a cruder mold of Perlman, Perlman as with Heifetz sets a standard so high that it's very hard to meet. I think this was a great performance in which Shaham's specialties were best demonstrated. First of all, he's playing a Stradivarius here and so cannot possibly be the amateur some reviewers have made him out to be. As with Perlman, his method is founded in the Polish Romantic tradition of violin as led by Joseph Joachim to whom almost every composer turned to for drafting a violin concerto. There are certain deficiencies as the previous reviewer mentioned but they are rather academic at this level and such matters are ethical questions for musical groups, the music industry, and musical academies as opposed to the general buying public. The best performance on this album is The Gypsy Airs where Shaham demonstrates all of his great talents.

Passable but not great.......2005-08-12

I don't think Shaham deserves all the praise that appears here. His technique is good, but his sound productions is barely competent: his sound often comes out as too thin, the passionate parts lacking the intensity that puts them above the rest - the contrast that marks the difference between merely reading music and interpreting it. No doubt Shaham tries, and the feeling and a little passion comes through, but compared to a master like Oistrakh, he's a factory worker, that is, someone who belongs in an orchestra.

Comparing his performance of the Legende with Oistrakh's (David, not Igor, btw!), Shaham's lacklustre playing comes out most clearly in the 'dark' parts where the melody drops in pitch. By listening to Oistrakh play these parts, I know that the solo violin is not supposed to fade out and let the orchestra (or piano, in Oistrakh's recording) overwhelm it. The intensity goes down - after all the dark part is supposed to express despair - but the playing is there. In Shaham's case, his playing is absorbed by that of the strings in the orchestra, whose playing (as a whole), by the way, is superb. When a solo violinist lets this happen, something is wrong, and I doubt it is the hall acoustics, the microphones, the conductor or the composer that is to blame. I have listened to a recoding of an old Oistrakh perform both Shostakovich violin concertos, and though I could easily sense the diminished energy in his playing, rarely did the orchestra overwhelm the solo violin. In this recording, Shaham, with more juice to spare than Oistrakh in his best years, performs like an anemic.

Going back to the matter of praise, I really think it should be granted sparely, for otherwise, like currency, it will lose value. And when officially sanctioned critics and reviewers get into the business of manufacturing raves, mafias are not long in appearing, as they have done in American poetry contests. Remember, in music, unlike other arts, unless you are a cognoscenti who can translate notes on the page into music in your mind - or of course if you are a musician -, interpretation is the other half without which a composer's work is nothing more than meaningless scribbles. If we don't want to become the ideological hostages of often pretentious academics and reviewers, some of them with hidden agendas (note that Shaham is a protege of Perlman, a man who, like Zukerman, lately seems more concerned with increasing his celebrity than with perfecting the quality of his playing), we better learn to tell the wheat from the chaff. And obviously, only by knowing both of them can we tell them apart.

Wonderful.......2005-03-21

This is an excellent disc. I had never heard Wieniawski's first concerto before I acquired it, and I was amazed at how beautiful it is and how splendidly Shaham performed it.

The recordings of the Second Concerto and the Legende are terrific as well. They're intense, lyrical and clean.

This spellbinding recording finishes with Sarasate's Zigeunerweisen, a composition that makes one wonder if Sarasate was truly Spanish and not Romany or at least Hungarian! Shaham shows his versatility with a terrific rendition of it. One can picture sipping wine in Budapest in a restaurant at the edge of the Danube and hearing such music. No, one can't. The violinist wouldn't be anywhere near as good as Shaham.

Mozart: Piano Concertos nos. 271, 453, and 466 / Davies, Jarrett

Average customer rating:

Amazing, as always
FANTASTIC!
Breathtaking
Cool, clean Mozart

Mozart: Piano Concertos nos. 271, 453, and 466 / Davies, Jarrett

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music
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The Carnegie Hall Concert

ASIN: B00000K2WP
Release Date: 1999-10-05

Tracks:

Concerto For Piano And Orchestra No. 20 In D Minor K.466: Allegro
Concerto For Piano And Orchestra No. 20 In D Minor K.466: Romance
Concerto For Piano And Orchestra No. 20 In D Minor K.466: Allegro assai
Concerto For Piano And Orchestra No. 17 In G Major K.453: Allegro
Concerto For Piano And Orchestra No. 17 In G Major K.453: Andante
Concerto For Piano And Orchestra No. 17 In G Major K.453: Alegretto - Finale: Presto

Tracks:

Concerto For Piano And Orchestra No. 9 In E-flat Major K.271: Allegro
Concerto For Piano And Orchestra No. 9 In E-flat Major K.271: Andantino
Concerto For Piano And Orchestra No. 9 In E-flat Major K.271: Rondeau: Presto
Adagio And Fugue In C Minor K.546 For String Orchestra

Amazon.com

For many, Keith Jarrett is still best known for his jazz forays: extended yet gorgeous improvisations at the keyboard that literally hypnotize listeners (and helped fund ECM, still the artist's label of choice). So, it would be easy to expect Jarrett to deliver a seat-of-your-pants, highly improvised interpretation of these three Mozart piano concertos. You'd be wrong, however. Jarrett's performance on these works is deft and delicate. Meanwhile, Dennis Russell Davies and the Stuttgarter Kammerorchester can be heard loud and clear (and in fine form, it should be noted), never overpowered by the pianist; instead, a perfect balance is struck between orchestra and soloist. More than anything, what surfaces from this double-CD is Mozart's great music: the finale of No. 17 is delightful; throughout the D-minor concerto, we hear the role of the woodwinds in astounding detail. The added bonus of Mozart's solemn Adagio and Fugue in C Minor makes for a gorgeous, though slightly restrained, finale. Yes, Jarrett is the star here, but the real kudos go out to ECM, for capturing such a well-balanced, beautiful recording of these works. --Jason Verlinde

Customer Reviews:

Amazing, as always.......2004-07-24

Keith Jarrett is a tremendously impressive artist. He switches gears between jazz and classical, between solo and orchestral work, in a seemingly effortless manner. One would never assume that the pianist on this recording is a renowned jazzman, but so he is. This recording features some of my favorite Mozart concertos and it will NOT disappoint.

FANTASTIC!.......2002-06-29

I have finally found the Mozart piano concerto recordings I have been looking for. After trying out some of the most popular and best reviewed interpretations (Brendel, Uchida, etc.), I decided to take a chance on this one. What a pleasant surprise! Perfectly played by the soloist and orchestra, brilliantly recorded as well. Some of the older versions of Mozart's concertos are still my favorites (Casadesus, Serkin), but if you are looking for the best versions in modern sound, you can't go wrong with Keith Jarrett. He also recorded a previous cd, with concertos #21, 23 and 27. Although you can't find it in the U.S., it is available through mail order from Europe. I highly recommend that one as well. For those of you on a tight budget, Jeno Jando made an excellent recording of all the piano concertos in the late 80's on Naxos. At a budget price, it is a good introduction for those who haven't experience the joys of listening to W. A. Mozart.

Breathtaking.......2000-11-08

This recording is positively sublime. I believe W.A. Mozart would have been proud to hear Keith Jarrett play his compositions.The first time I heard it I almost wept. Truly brilliant! Highly, highly recommended.A feast for the ears.

Cool, clean Mozart.......2000-02-16

Jarrett's first Mozart album got me started in Mozart Piano Concerti. His clean, straight-forward style is refreshing and lets me go right to the music seemingly without interpretation. And yet, underneath I feel the intense drive of his solo albums, all that passion contained and focused.

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