Mozart: Piano Concertos Nos. 24 & 25 [Import]

Track Listings

1. 1-3 Piano Concerto No.24 In C Minor, K491

2. 4-6 Piano Concerto No.25 In C Major, K503

3. 7- Piano Concerto No.16 In D Major, K451 (I)

4. 1-2 Piano Concerto No.16 In D Major, K451 (Ii & Iii)

5. 3-5 Piano Concerto No.26 In D Major, K537 "Coronation"

6. 6-8 Piano Concerto No.27 In B Flat Major, K595

Editorial Reviews
Album Details
Andras Schiff’s Mozart Cycle with the Camerta Academica Des Mozarteums Salzburg and Sándor Végh was Recorded Between 1987 and 1993 and Quickly Came to Be Recognised as One of the Finest Cycles to Be Recorded During the Digital Era and Using Modern Instruments.this 2-CD Set Focuses on the Last Four Concertos with the Addition of No.16 (K451) and Provides an Excellent Selection of Concertos Drawn from the Complete Cycle. As Well as a Useful Catalogue Item and Strong Addition to the Double Decca Catalogue, this Set also Acts as a Superb Reminder of Andras Schiff’s Wonderful Mozart Interpretations as He Approaches his 50th Birthday on 21st December 2003.

Tracks:

Piano Concerto No. 24, KV 491: C-Moll: Allegro
Piano Concerto No. 24, KV 491: C-Minor: Larghetto
Piano Concerto No. 24, KV 491: Do Mineur: Allegretto
Piano Concerto No. 25, KV 503: C-Dur: Allegro maestoso
Piano Concerto No. 25, KV 503: C Major: Andante
Piano Concerto No. 25, KV 503: Do Majeur: Allegretto

Amazon.com essential recording

These readings appear to be the beginning of a cycle, which should come as welcome news to all Mozarteans. Born in Prague in 1930, Ivan Moravec is a pianist of uncommon gifts and one of the most sympathetic interpreters of Mozart's music ever to sit at a keyboard. His accounts of these concertos, recorded in 1995 and 1997, blend strength and gentleness, spontaneity and calculation, the playful and the serious, in a unique way--stirring in the listener that feeling of elevation that is the hallmark of the very greatest Mozart performances. Marriner and the ASMF attain the same high level of excellence, and the sound is superb. --Ted Libbey

Customer Reviews:

Moravec's Stellar Interpretations Of Mozart's Piano Concerti.......2002-03-22

These are the most passionate, lyrical performances I've heard of Mozart's 24th and 25th piano concerti. Moravec is definitely a great pianist who has substantial empathy for Mozart's scores. Yet I must also add that I was a bit disappointed with Moravec's choice of cadenzas; these wren't as elaborate as those I've heard on other recordings by Ashkenazy and Brendel. Admittedly, Moravec's interpretations may not satisfy those who are well versed with Brendel's performances, yet these are just as credible, and I think, substantially more exciting. Sir Neville Marriner leads the Academy of Saint Martin in the Fields in two splendid performances of the orchestral scores noted for their rich warm sound. The sound quality is quite good, though it may not be as refined as the best I've heard from Teldec, Deutsche Grammophon and Philips.

Great, not the Best, Though...........2002-02-24

First, if you don't have 24 or haven't heard it, it is one of the greatest pieces in the standard repertoire. Of Mozart's 27 piano concerti, only two are in minor keys (20 and 24) and this one is, to my mind, in the top two or three. (I like 22 about as much; while 24 is in C minor, 22 is in Eb major, whose relative minor is C minor. 22 has quite a few episodes of sturm und drang that presage this work. Composing pieces in a minor key was frowned on in Mozart's day; with 20, he finagled his way out of it by tacking on a major key ending, in 24, it stays dark all the way to the bitter end.)

It's hard to say anything bad about a disc that has so much going for it, but ultimately, it adds up to less than it could have. First, on the positive side, the sound is absolutely amazing. I can't imagine how any engineers could hope to get a better recording of a piano concerto. The balance between the piano and the orchestra is perfect. The orchestra sound is deep and warm, but not smarmy sounding. The sound of the piano is also fabulous. These two pieces could hardly be better works to test the integrative faculties of the engineers, and on that, they pass with flying colors.

The performances are great, but I disagree with the other reviewer who claims these are the best ever. Quite often in 24, the tempo seems amiss. Sometimes 24 is played as absurdly Romantic sounding, but here, they seem to have chosen to slow down parts of it to increase the drama, which is pretty annoying to anyone who has heard this piece a lot of times. Some of the tempi are more like Mahler than Mozart, which is just plain weird. And this piece doesn't need any help in the drama department. Also, Moravec's cadenza in 24 is disappointing, in my opinion. I had the Sony recording with Cadesus, so I'm a bit biased, but the cadenza breaks up the piece at a key point and inserts an interlude that is out of sorts with the other material.

I'd still recommend this, though, just wouldn't have it as my only performance. I'm going to keep looking...

An exhilarating ride.......1999-12-08

In this whole series of Mozart piano concertos, Moravec unfailingly strikes that wonderful and ever-changing balance between play and elegance, wit and pathos that makes Mozart so great.

I get so carried away with the sheer fun of these performances that I'm often oblivious to their considerable virtuosity. I suspect that's the point.

For my money, these Mozart Concertos are even better than Annie Fischer's, which I hadn't thought was possible.

Fantastic.......1999-06-30

This is quite simply the greatest performance of Mozart's 24th piano concerto yet recorded. Move over Brendel, Ashkenazy, and Pires; Moravec has proven yet again why he's one of the greatest pianists alive. He spends a minimum of two years working to perfect new additioins to his repetoire, and it shows. Music-making at its very best.

Average customer rating:

Outstanding Mozart!
Better than Goode
Elite Performance -- Not a Very Good Recording

Mozart: Piano Concertos Nos. 23 & 24

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Richard Goode Performs Mozart
Mozart: Piano Concertos Nos. 20, 23, 24, 26 & 27

ASIN: B0000206A1
Release Date: 1999-10-19

Tracks:

Piano Concerto No. 23 In A Major, K. 488: Allegro
Piano Concerto No. 23 In A Major, K. 488: Adagio
Piano Concerto No. 23 In A Major, K. 488: Allegro assai
Piano Concerto No. 24 In C Minor, K. 491: Allegro
Piano Concerto No. 24 In C Minor, K. 491: Larghetto
Piano Concerto No. 24 In C Minor, K. 491: Allegretto

Amazon.com

Goode and Orpheus are taking their collective time recording Mozart's piano concertos, which is probably a good thing, in view of the results. Both of these performances, of extremely familiar works, benefit from intense concentration and fresh approaches. Goode appropriately stresses the lyrical side of No. 23, and even essays a bit of mild embellishment in the beautifully played slow movement. No. 24, the famous C-minor concerto, is played with Beethovenian gruffness and power, moving the music into the 19th century. The modesty of Robert Levin's fortepiano recordings seems more like what Mozart expected to hear. But as more forward-looking performances go, these splendid readings are the equal of the much-praised Uchida/Tate versions. Not only is the lack of a conductor no detriment, but the individuality and expressiveness of the orchestral lines here are remarkable. --Leslie Gerber

Customer Reviews:

Outstanding Mozart!.......2005-12-26

This is my first time hearing pianist Richard Goode and the Orpheus Chamber Ensemble in a recording of the Mozart Piano Concertos. In a word, they are outstanding.

I have recordings of these two concertos by Brendel/Marriner, Curzon/Kertesz, Ashkenazy (Philharmonia Orchestra), Howard Shelley (London Mozart Players), Barenboim (Berlin Philharmonic), not to mention other pianists whose recordings I have of Concerto no.23, but not 24, or vice versa.

Performancewise, Richard Goode can be very lyrical one moment, poetic the next. His runs are sparkling, his pianissimos very delicate. The Orpheus Chamber Ensemble is superb. If I didn't have so many recordings of the Mozart Piano Concertos, I'd be going out to get the other Goode/Orpheus Chamber Ensemble recordings; that is how impressed I am by their playing and this recording. If I were to hazard a guess, I'd say that possibly Howard Shelley's Mozart playing is the most poetic of those I have, but Richard Goode is right up there.

Good, clear sound.

Better than Goode.......2004-08-26

Easily the finest interpretation of these two works on CD, as a quick audition will reveal. Such unanimity of thought, such fresh phrasing make this an inspirational experience not to be missed. No problems with the sound at all, a very natural acoustic with a life-like string sound adding to my pleasure of this release, a favourite CD.

Elite Performance -- Not a Very Good Recording.......2001-04-06

I'll make this short & simple. I like the performance, but have a hard time getting past the sound. For some reason the violin sound is completely lacking in the high frequencies. The piano sounds fine, however. I suspect that there was a lot of spotlighting with the microphone placement, and that the violins were recorded too closely. Other recordings I have of various Mozart piano concertos are with Brendel/Marriner, Brendel/Mackerras, O'Conor/Mackerras, Uchida/Tate, Schiff/Vegh. I consider them all the be very fine performances. As far as sound goes, the Goode/Orpheus and Uchida/Tate are my least favorite recordings. The playing by the Orpheus CO is top notch.

Mozart: Piano Concertos Nos. 20, 23, 24, 26 & 27

Average customer rating:

A treasured musical file!
Excellent playing, but piano too distant
Great recordings

Mozart: Piano Concertos Nos. 20, 23, 24, 26 & 27

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bach - Brandenburg Concertos / Il Giardino armonico

ASIN: B00005N56Y
Release Date: 2002-02-12

Customer Reviews:

A treasured musical file!.......2005-10-12

The whole story of the composers-conductors have not been written may be well considered unfinished if the name of Britten is not included. His approach in what Mozart concerns is a fact worthy of the best and sincere epithets. He added these Piano Concerts not only elegance, cram, noblesse but also aristocracy and refinement.

So when the imaginative melodic flight of Britten converges with the wisdom innocence of Sir Clifford Curzon -one of the few artists who "made sing" the piano- (Wilhelm Kempff was the genuine master in this field), the result is a true enraptured and inspired Mozart, because as the Great Genius, Mozart 's significance is major by what suggests instead by the expressed.

I should remark the special relevance of this CD because both works mean somehow, the alpha and omega of the best set of Concerts of Wolfgang Amadeus: the 20th is to my mind, the most complete and profound of all Mozart piano Concertos. It possesses humor, innocence, tragedy and redemption; all the mythic cycle expressed in thirty minutes.
"The brevity is the soul of the cleverness"

Absolutely recommended.

Excellent playing, but piano too distant.......2005-06-09

These are excellent perfomances, however, I had trouble listening to some this recording because the piano seemed so quiet and distant and was often overwhelmed by the orchestra's volume. I found myself straining to hear the quiet passages, but couldn't turn it up because the loud sections with full orchestra would be too loud. This was particularly the problem with the Britten-conducted performances, Nos. 20 and 27, less so on the rest.

I'll still try to listen to this cd, but I have other Mozart Piano Concerto performances by Alfred Brendel and Richard Goode that have better definition in the sound and a piano that doesn't get lost in the orchestra that I enjoy more.

Great recordings.......2002-05-27

Decca has wisely chosen Curzon's recordings of these Mozart concertos for reissue in their "Legends" series. Nos. 20 and 27 with Britten and the English Chamber Orchestra are absolutely classic, nos. 23 and 24 with Kertesz and the London Symphony hardly less so. Curzon was at his best in Mozart. His playing is stylish, elegant, and expressive within the context of Mozart's period, without exaggeration or idiosyncrasy. The sound is excellent and has been successfully remastered. The only snag is that no. 26 is split between the two CDs, but since this is the least popular of these concertos anyway this probably won't matter all that much. Highly recommended, and a tremendous bargain at this price (I paid almost this much a few years back just for these recordings of concertos nos. 20 and 27!).

Average customer rating:

Compelling performance of two masterpieces

Mozart: Piano Concertos Nos. 24 & 25

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Mozart: Piano Concertos Nos. 22 & 23
Mozart: Piano Concertos Nos. 20 & 21
Mozart: Piano Concertos Nos. 26 & 27
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Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra

ASIN: B000004104
Release Date: 1989-09-14

Tracks:

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
Piano Concerto No. 25 In C, KV 503: Allegro Maestoso
Piano Concerto No. 25 In C, KV 503: Andante
Piano Concerto No. 25 In C, KV 503: Allegretto

Customer Reviews:

Compelling performance of two masterpieces.......2002-06-21

Mitsuko Uchida is one of the most distinguished Mozart performers currently active. She never indulges in overly Romantic readings (as many great pianists of the past had done) yet is not so strict as to lose a sense of passion so often missed in Mozart. Additionally, her playing is extremely lyrical (also evident in her wonderful Schubert recordings)while retaining Mozart's balance and grace. The pianist to whom I believe she has the closest affinity is probably the late Rudolf Serkin, and I would say that only his recordings can equal hers in beauty and depth.
The two concertos on this recording are among Mozart's finest. The first, in C-minor, is one of mozart's only 2 concertos in a minor key, the other being #20 in d-minor. While both are passionate, there are several differences: this piece is more consistently dark (the d-minor's finale ends in a major key, opera buffa style), and it belongs more to the realm of chamber music (whereas the other is more operatic or symphonic in nature). Of Mozart's concertos, this is one where ETA Hoffmann's observation that his concertos are more symphonies with piano obligatto than actual concertos is particularly true. There are abundant passages where the piano has duets with various woodwind instruments above string accompaniment. In fact, the use of tone color in the woodwinds is perhaps the most complex of any of Mozart's concertos, with use of both oboes and clarinets.
The first movement is dominated by an ominous theme which is developed in an extremely spacious manner. The motivic material is extremely concise (the opening theme is ever-present), and yet, Mozart stretches his movement into an expansive statement of raw emotion, though one which is not without its breakthrous of joy. The most startling formal breakthrough is the presence of piano arpeggios in the first movement coda, an original concept utilized by later composers, particularly Beethoven (who based his 3rd piano concerto on this one). Following the 2nd movement's Romanze-like Larghetto of incredible calm, one finds what is perhaps Mozart's most successful venture into variation form. The fierce, vigourous theme is varied 8 times: the two major key variations are like pleas of hope surrounded by the desperate anger of the minor key. While the final variation is in a skipping 6/8 time, it is perhaps the most desolate of the all, and leads directly into an impassioned coda.
Mozart's concerto #25 in C is of an altogether different nature. All of Mozart's concertos in this key are essays in orchestral grandeur, bu the first movement of this concertos is by far the most elaborate and majestic (though I personally prefer the more popular #21, K. 467). This piece is hardly a concerto at all, so symphonic is its opening theme. The second theme, however, is almost identical to the Marseillaise, though the ensuing minor key development puts a more dramatic spin on the simple French tune (was the French tune was based on this piece?). The rondo finale is extremely exciting, with some surprising modulations in the middle of a tremedously lyrical episode. THe work concludes with an energetic coda.
Another word must be said about Uchida's cadenzas. All of them, particularly that of K. 503, are thoughtful and true to Mozart's style (the end of the one for 503 is very exciting).
Buy this CD! It becomes more and more beautiful with each listening.

Mozart: Piano Concertos Nos. 8, 23, 24, 27

Average customer rating:

Agree - definitive !
Definitive

Mozart: Piano Concertos Nos. 8, 23, 24, 27

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GLF
Release Date: 1995-07-18

Tracks:

Concerto pour piano et orchestre no. 8 en ut majeur: Allegro aperto
Concerto pour piano et orchestre no. 8 en ut majeur: Andante
Concerto pour piano et orchestre no. 8 en ut majeur: Rondeau. Tempo di Menuetto
Concerto pour piano et orchestre no. 23 en la majeur: Allegro
Concerto pour piano et orchestre no. 23 en la majeur: Adagio
Concerto pour piano et orchestre no. 23 en la majeur: Allegro assai

Tracks:

Concerto Pour Pinano et orchestre no. 24 en ut minuer, K. 491: Piano concerto N 24 in C minor, K.491 - Allegro
Concerto Pour Pinano et orchestre no. 24 en ut minuer, K. 491: Larghetto
Concerto Pour Pinano et orchestre no. 24 en ut minuer, K. 491: Allegretto
Concerto Pour piano et orchestra no. 27 en si bemol majeur K. 595: Piano concerto N 27 in B-flat major, K.595 - Allegro
Concerto Pour piano et orchestra no. 27 en si bemol majeur K. 595: Larghetto
Concerto Pour piano et orchestra no. 27 en si bemol majeur K. 595: Allegro

Customer Reviews:

Agree - definitive !.......2007-02-25

Mozart's concerto K.491 is a truely great perfarmance, there is simply no greater recording of this work. The others are all outstanding too. A great disc.!

Definitive.......2003-09-01

Kempff's recording of 23 & 24 is definitive. No other comes close. His playing here is pure poetry; nothing fussy or flashy, just graceful and deeply felt music-making. His performances of 8 & 27 are likewise superb. The remastered sound is very good.

Tracks:

Piano Concerto No.20 In D Minor: Allegro
Piano Concerto No.20 In D Minor: Romance
Piano Concerto No.20 In D Minor: Rondo (Allegro assai)
Concert Rondo In D: Allegretto grazioso
Concert Rondo In D: Adagio
Concert Rondo In D: Allegro
Piano Concerto No.24 In C Minor: Allegro
Piano Concerto No.24 In C Minor: Larghetto
Piano Concerto No.24 In C Minor: Allegretto

Customer Reviews:

Great Mozart From Brendel and Marriner.......2002-12-23

It's unfortunate that this seems to be one of a handful of CDs still available from Brendel's 1970's and early 1980's traversal of most of Mozart's piano concerti, which he recorded with Sir Neville Marriner conducting the Academy of Saint Martin in the Fields chamber orchestra. The sound quality on this analogue recording is up to Philips's standards for the 1970's. Brendel's performances are splendid and so too are the orchestra's. Anyone interested in an excellent recording of these Mozart piano concerti will not be disappointed.

MOZART's GREAT PIANO CONCERTOS.......2000-11-19

While it is almost impossible to tell which pianist did the best recording of these two masterpieces-i personally prefer MITSUKO UCHIDA, perhaps because i first heard them with her-ALFRED BRENDEL who i think is the best authority on SCHUBERT(his complete cycle of sonatas are great)does also an excellent job ,and you can also go with him without worrying.This is the great MOZART reaching his full maturity as a composer of concertos.It's dark,it's moving and it really gets to you.If you don't like this you're dead.

Average customer rating:

25 Classical Heartbreakers

25 Classical Heartbreakers

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007TFHCA
Release Date: 2005-02-22

Customer Reviews:

25 Classical Heartbreakers.......2006-11-29

Although these are popular and widely heard compositions (that's why I gave it 4 stars) they are very soothing when you want to mellow out. However, I can't understand why the title reads '20 Classical Heartbreakers' when there are 25 pieces.

Average customer rating:

Thoroughly enjoyable Haskil/Mozart
Vintage yet fine recordings of these Mozart concerti

Mozart: Piano Concertos Nos. 20 & 24
Haskil , Markevitch , and Orchestre Des Concerts Lamoureux
Manufacturer: Philips/Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000051YDF
Release Date: 2000-12-25

Tracks:

I. Allegro
Ii.Romanze
Iii. Rondo (Allgro Assai)
I. Allegro
Ii. Larghetto
Iii. Allegretto

Customer Reviews:

Thoroughly enjoyable Haskil/Mozart.......2005-07-29

One of the most gratifying things about Clara Haskil is that though she has a wonderfully delicate touch, she manages to avoid sounding overrefined. When called for, she also plays with convincing authority. All is exemplary in this pairing of Mozart's 20th and 24th Concertos with Igor Markevitch. Though the conductor's orchestral accompaniment fairly frequently sounds more Beethovian than Mozartian, it's okay with me. Haskil's performance in Concerto No. 20 (one of my absolute favorites) strikes a rather interesting comparison with another outstanding artist from the same time frame---Annie Fischer, who is partnered by Ervin Lukacs and the Budapest Symphony on Hungaroton. To my ears, Haskil comes across as considerably more relaxed, tuneful and fluid, while Fischer seems a little too sober and unvarying in style. Clearly, the former provides a more fulfilling experience...In the opening of Concerto No. 24, Markevitch gets a bit bombastic, but Haskil, in disarming fashion, proceeds as usual with her splendid musical personality. Together, she and Markevitch serve up an especially engaging larghetto. She also makes Ashkenazy sound rather faceless here by comparison. Altogether, a prime example of this wonderfully sensitive and special pianist from a great bygone era.

Vintage yet fine recordings of these Mozart concerti.......2004-04-23

Those unfamiliar with Clara Haskil's career as one of the 20th Century's most distinguished pianists (this includes yours truly) will be pleasantly surprised with her thoughtful, lively performances of both Mozart piano concerti. These early recordings from the 1960's sound quite vibrant and fresh thanks to state-of-the-art digital image bit remastering. Legendary conductor Igor Markevitch leads his Parisian orchestra in two elegant performances which do not overshadow Haskil's vividly dynamic playing. This was an unexpected surprise when I heard it first; without a doubt I see why it is included in the Philips 50 series of legendary recordings.

Mozart Piano Concertos Nos. 20, 21, 24 & 27

Average customer rating:

Mozart Piano Concertos Nos. 20, 21, 24 & 27

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YDHC
Release Date: 2002-02-05

Tracks:

Piano Concerto No. 20 In D Minor, K. 466: Allegro
Piano Concerto No. 20 In D Minor, K. 466: Romance
Piano Concerto No. 20 In D Minor, K. 466: Rondo: Allegro Assai
Piano Concerto No. 21 In C, K. 467: Allegro Maestoso
Piano Concerto No. 21 In C, K. 467: Andante
Piano Concerto No. 21 In C, K. 467: Allegro Vivace Assai
Rondo In A Minor, K. 511

Tracks:

Piano Concerto No. 24 In C Minor, K. 491: Allegro
Piano Concerto No. 24 In C Minor, K. 491: Larghetto
Piano Concerto No. 24 In C Minor, K. 491: Allegretto
Piano Concerto No. 27 In B Flat, K. 595: Allegro
Piano Concerto No. 27 In B Flat, K. 595: Larghetto
Piano Concerto No. 27 In B Flat, K. 595: Allegro

Average customer rating:

A big, idiosyncratic talent goes out on a limb
Conducting from the Piano: Another Aspect of Anderszewski Talent
Astonishing detail, clarity, and dramatic contrasts
Bold and Beautiful Pianism

Mozart: Piano Concertos Nos. 21 & 24
Wolfgang Amadeus Mozart , Piotr Anderszewski , and Sinfonia Varsovia
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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J.S. Bach: Suite Francaise No. 5 / Ouverture Dans Le Style Francais

ASIN: B00005RFS9
Release Date: 2002-04-09

Tracks:

Piano Concerto No.24, K491: I. Allegro
Piano Concerto No.24, K491: II. Larghetto
Piano Concerto No.24, K491: III. Allegretto
Piano Concerto No.21, K467: I. Allegro Maestoso
Piano Concerto No.21, K467: II. Andante
Piano Concerto No.21, K467: III. Allegro Vivace Assai

Amazon.com

Piotr Anderszewski is a rare talent who takes big musical risks and makes them seem inevitable. Here, he counters the accepted Mozart-lite style, projecting these works on a broad Romantic canvas. He opens the C Minor Concerto with an immensely powerful orchestral introduction, perfectly balanced, revelatory in exposing details, and with climaxes like hammer blows. When the violins enter with their sharply accented figure, they stand out like shrieks in the night--startling at first, but appropriate to this tragic work even as it defies period style. His piano entrance is soft and dreamy. His dialogue with orchestra anticipates the slow movement of Beethoven's Fourth Concerto, and his very slow Larghetto features sighing strings and immaculately played wind solos and duets. Anderszewski's cadenzas in both concertos are boldly original, the playing throughout full of feeling and tonal beauty. The sunnier C Major gets more conventional treatment, still replete with individual touches that make his reading stand out from the crowd. Perahia and Brendel may be safer bets, but Anderszewski is exciting and unpredictable. Vivid engineering is an important plus. --Dan Davis

Customer Reviews:

A big, idiosyncratic talent goes out on a limb.......2006-03-19

So far as I know, the first notable musician to rebel against the beauty of Mozart's music was Nikolaus Harnoncourt, who produced shocking performaances in the Eighties of nakedly aggressive Mozart replete with unmarked accents, violent attacks, and (in the operas) nasty personages onstage.

The brilliant Polish pianist Piotr Anderszewski has learned some lessons at the master's knee, apparently. The opening of the C minor concerto is gruff and tough--every accent in the orchestral tutii is blown up into an angry outburst. Yet when the piano enters, it creeps in on tiny, timid feet, providing a stark and frankly ludicrous contrast.

Harnoncourt had more courage in his convictions, however, and Anderszewski can't quite keep up the lion-and-mouse game. There's much beautiful playing here, and although he minces a bit self-consciously thorugh the slow movements of obth concertos, his ability to shape a lyrical line can't help but prove mesmerizing. There's no arguing over taste here. The Amazon reviewer finds the same qualities daring, risky, and exciting. I think they're arbitrary and unnecessary. Even so, I won't back off my previous judgment, having heard Anderszewski live on two occasions, that he is a rare musician and a poet at the keyboard.

Conducting from the Piano: Another Aspect of Anderszewski Talent.......2005-12-12

Once the pianism of Piotr Anderszewski is experienced it is contagious! His technique is flawless and his approach to the masters is refreshing in bringing a new stance to works well known to us. And to his gifts of pianistic craft he adds the role of conducting the orchestra from the keyboard. Not that this is revolutionary by any means: this technique of performance goes back for centuries. Yet it is always reassuring when the pianist understands a concerto score so well that he can transmit that knowledge in an intelligent way to a group of musicians.

On this CD Piotr Anderszewski plays and conducts the Sinfonia Varsovia in Mozart's concerti numbers 21 and 24. The result is a sparkling, clearly defined approach to each work, and a strong balance between the piano and the orchestral conversation. There are no major surprises here as there often are in his live performances, but the results are solid, top notch additions to the large volume of recordings of these works. AND Anderszewski gives evidence of being a very fine conductor at this early point in his career. Recommended. Grady Harp, December 05

Astonishing detail, clarity, and dramatic contrasts.......2002-09-14

Piotr Anderszewski's tempos are moderate and flexible, there is plenty of blood-stirring excitement, and the recorded sound is gorgeous. He and the Sinfonia Varsovia bring out the written lines with an amazing contrapuntal clarity. There are more things to notice each time one listens to this, and the tone is unfailingly beautiful even in the most agitated passages.

Why didn't I give this five stars? There are a couple of problems here, and both ultimately lead back to a lack of spontaneity.

(1) The piano and orchestral lines here are SO richly detailed, the contrasts of mood and tempo so extreme and sudden, that these don't sound (to me) like real performances as much as carefully-prepared and assembled passages from multiple sessions. This is especially noticeable whenever the piano entrances IMMEDIATELY dispel the prevaling mood, bringing a breathless hush to the room, or a sudden surge of excitement...the air feels different, and the spirit of performance seems to jump in discrete motions rather than flowing. Even a very fast transition of mood (a few seconds) would be OK, showing a real-time flow as the musicians adjust to the changes in the music; it's the sudden stair-step jumps of NO transition that are disturbing. The astonishing clarity of texture is wonderful, along with the thoughtful presentation of every note, sure. But the music also has to have more flow: more like a stage play (all one take) than a film made of quick camera cuts and close-ups. Anderszewski's abrupt shifts keep the listener perpetually off balance and encourage a short attention span; it's more like watching television than listening to Mozart. At least the C major concerto here has more flow than the C minor concerto does, and it sounds more real.

(2) The lack of improvisation in the piano part leaves some serious gaps. Mozart wrote these concertos for his own use, they were not published during his lifetime, and he did not write down all the notes; the piano part is a sketch, enough information for his own semi-extemporized performances. He premiered K467 (C major) in a 1785 concert that also included entirely-improvised piano music showing off a new "especially large" instrument. K491 (C minor) was for Lent the next year. Anderszewski is too literal. He contributes interesting and appropriate cadenzas, yes, since Mozart didn't write any; but he doesn't play basso continuo (I miss that exciting percussive crunch), and more crucially he doesn't complete Mozart's melodic lines in the places where the notation is only a sketch. At various places Mozart wrote only the low and high notes, and the player is supposed to improvise or otherwise devise appropriate passagework through those turn-around points, continuing the patterns from the preceding bars. Anderszewski merely hits these isolated notes, ping, PING, ping!, and the music sounds startlingly empty, like seeing a portrait of somebody familiar but missing a few teeth. One of the most obvious passages in this regard is at the piano's exit into tutti, just before the first-movement cadenza in the C minor concerto. I compared this against my other recordings: Clifford Curzon, Glenn Gould (studio and live), John Gibbons, Malcolm Bilson. All of those players devise naturally-flowing passagework, different solutions from one another, while Anderszewski abruptly shatters the mood with his empty pings.

In brief, there's too much control here, not enough natural music or sense of occasion. (Well, that sentence sounds harsh, so let me try again....) This disc is a "must-hear" anyway, despite those reservations about spontaneity. The felicitous detail that Anderszewski brings out, both in the orchestra and the piano articulation, is astonishing. And there are moments of exquisite magic and grace. All those good points ALMOST offset the lack of sparkle. 4.3 stars out of five?

Bold and Beautiful Pianism.......2002-05-22

This is a CD well worth owning. Anderszewski gives a particularly brilliant performance of concerto No. 24. He puts all of the vibrancy and gusto we expect from him in this brilliant Mozart concerto. The outer movements are played boldly, but for the slow movement we get beautifully and sensitive playing.

His interpretation of No. 21 is not quite as satisfying. Others extract more beauty and refinement out of the first movement in particular. The opening could be a little more laid back and quiet, but there are no complaints in general.

Of particular interest are the cadenzas Anderszewski has written. Although they may not be conventional 19th century cadenzas, they are very enjoyable, particularly in the opening movt of No. 24. The opening movement cadenza in No. 21 (Not the initial extemoporisation as the piano enters) is quite amusing - it's Beethoven Diabelli Variations through and through.

The recorded sound is good, and balance between piano and orchestra also very good. A highly recommended disc.

Music Review:

Music Review

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1. 1-3 Piano Concerto No.24 In C Minor, K491
2. 4-6 Piano Concerto No.25 In C Major, K503
3. 7- Piano Concerto No.16 In D Major, K451 (I)
4. 1-2 Piano Concerto No.16 In D Major, K451 (Ii & Iii)
5. 3-5 Piano Concerto No.26 In D Major, K537 "Coronation"
6. 6-8 Piano Concerto No.27 In B Flat Major, K595