Mozart - Piano Concertos No. 15, K450 & No. 26, K537 "Coronation" / Levin, AAM, Hogwood

On this CD:

1. Piano Concerto No. 15 in B flat major, K. 450
Composed by Wolfgang Amadeus Mozart
Performed by Academy of Ancient Music (UK), Robert Levin
Conducted by Christopher Hogwood

2. Piano Concerto No. 26 in D major ("Coronation") K. 537
Composed by Wolfgang Amadeus Mozart
Performed by Academy of Ancient Music (UK), Robert Levin
Conducted by Christopher Hogwood

3. Piano Concerto No. 15 in B flat major, K. 450 II: Andante (First Version)
Composed by Wolfgang Amadeus Mozart
Performed by Academy of Ancient Music (UK), Robert Levin
Conducted by Christopher Hogwood

Editorial Reviews
Amazon.com
Robert Levin plays these works on a restored Walter fortepiano that Mozart owned. This headline feature is both an asset and a limitation. The instrument has its own pronounced personality, which is arresting, when you can hear it. It also has a frailer sound than most of the early pianos or replicas used for concerto recordings, so you can't always hear it clearly. Perhaps this balance was what Mozart's audiences actually heard, but, more likely, if he used a piano like this, he also used a very small orchestra. The other factors of this series, especially Levin's musicianship and his imaginative expansions of Mozart's score, remain so compelling that the disc really has to be heard. But you might have to listen more closely than usual to appreciate it. --Leslie Gerber

Tracks:

Piano Conceto No.15 In B-flat Major, K450: I. Allegro
Piano Conceto No.15 In B-flat Major, K450: II. (Andante)
Piano Conceto No.15 In B-flat Major, K450: III. Allegro
Piano Concerto No.26 In D Major, K537 'Coronation': I. Allegro
Piano Concerto No.26 In D Major, K537 'Coronation': II. (Larghetto)
Piano Concerto No.26 In D Major, K537 'Coronation': III. (Allegretto)
Piano Concerto No.15 In B-flat Major, K450: II. (Andante) first version

Amazon.com

Robert Levin plays these works on a restored Walter fortepiano that Mozart owned. This headline feature is both an asset and a limitation. The instrument has its own pronounced personality, which is arresting, when you can hear it. It also has a frailer sound than most of the early pianos or replicas used for concerto recordings, so you can't always hear it clearly. Perhaps this balance was what Mozart's audiences actually heard, but, more likely, if he used a piano like this, he also used a very small orchestra. The other factors of this series, especially Levin's musicianship and his imaginative expansions of Mozart's score, remain so compelling that the disc really has to be heard. But you might have to listen more closely than usual to appreciate it. --Leslie Gerber

Customer Reviews:

A "new" style of Mozart.......2001-07-20

In my youth it was Ingrid Haebler, in college Geza Anda, in the 80's and 90's Murray Perahia. These were the pianists that shaped my taste in how Mozart should be played. When I first started to play this CD, I expected some departure of my norm. (ref my review of the Beethoven PC cycle)

My first reaction was "How Dare They change Mozart?" Then I thought about all the celebraties that make a pig's breakfast out of the Star Spangled Banner and get standing ovations. OK