Mozart: Piano Concertos Nos. 20-23

On this CD:

1. Piano Concerto No. 20 in D minor, K. 466
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra with Daniel Barenboim
Conducted by Daniel Barenboim

2. Piano Concerto No. 21 in C major ("Elvira Madigan") K. 467
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra with Daniel Barenboim
Conducted by Daniel Barenboim

3. Piano Concerto No. 22 in E flat major, K. 482
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra with Daniel Barenboim
Conducted by Daniel Barenboim

4. Piano Concerto No. 23 in A major, K. 488
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra with Daniel Barenboim
Conducted by Daniel Barenboim

Tracks:

I. Allegro
II. Romance
III. Rondo (Allegro Assai)
I. Allegro
II. Adagio
III. Allegro Assai
Allegretto Grazioso
Adagio
Allegro
Concert Rondo In A Major, K.386

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Moravec's Romantic Vision Of Mozart
Spacious and Warm-Hearted Performances

Mozart: Piano Concertos Nos. 20 & 23

Manufacturer: Hanssler Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009D79
Release Date: 1998-06-23

Tracks:

Piano Concerto No. 20, KV 466 D Minor: Allegro
Piano Concerto No. 20, KV 466 D Minor: Romance
Piano Concerto No. 20, KV 466 D Minor: Rondo (Allegro assai)
Piano Concerto No. 23, KV 488 A Major: Allegro
Piano Concerto No. 23, KV 488 A Major: Adagio
Piano Concerto No. 23, KV 488 A Major: Allegro assai

Amazon.com

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 Romantic Vision Of Mozart.......2002-03-15

Without a doubt, Moravec is one of our finest pianists. Having heard him play a great recital program last year at Carnegie Hall which featured music by Debussy, Mozart and Janacek, I was eagerly looking forward to hearing this CD. Moravec gives a vibrant, Romantic interpretation of Mozart's 20th piano concerto that is the most stirring I've heard; it's certainly a far cry from Brendel's austere approach. As for the 23rd Piano Concerto, Moravec's playing conveys more of a Classical interpretation than Romantic, but it is still marked by much vibrant warmth. I don't have to emphasize Sir Neville Marriner's excellence as a fine interpreter of Mozart; both he and the Academy are in splendid form as accompanists. Hopefully this is part of an ongoing Mozart piano concerto cycle which Moravec will complete. The sound quality is splendid.

Spacious and Warm-Hearted Performances.......2000-06-13

Marriner's credentials as a distinguished Mozartean are well-known and need no elaboration here. Moravec too has been playing Mozart beautifully for many years. I have a "cold war" recording of his from the mid-'60's where Mozart's gorgeous K. 475 Fantasy is coupled with Piano Concerto no. 25. His appraoch to Mozart has always been romantic, carrying a rich and full-bodied sound, and this tradition continues here. No. 20 is, along with no. 24, Mozart's most anguished concerto, and Moravec and Marriner bring out its full emotional range in a manner that leaves Perahia and Uchida in the dust. Not since Barenoim's EMI recording have I been so moved by an interpretation of this work. No. 23 is taken more lightly and briskly, as it should be, but if you want to hear how effortlessly Mozart could mask complex heartbreak with deceptively simple lyricism, listen to this concerto's slow movement. It's unforgettable. Marriner and Moravec have also collaborated on no.'s 24 and 25, and I'd recommend that as highly as I do this recording. I was lucky enough to see Moravic perform Mozart in 1991, and he's a true artist. If you're new to these concertos, then wait no longer--a whole range of undiscovered delights await you. If you have a recording of these concertos you're happy with, give this a try too. I'm sure Moravec will bring forth new insights into these pieces you thought you knew so well.

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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Schubert: Wanderer-Fantasie; Schumann / Clifford Curzon
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!).

Mozart: Rondo; Piano Concertos Nos. 20 & 23

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Mozart: Rondo; Piano Concertos Nos. 20 & 23

Manufacturer: Boheme
ProductGroup: Music
Binding: Audio CD

Rondos | Forms & Genres | Classical | Styles | Music

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ASIN: B000OCZC8O
Release Date: 2007-04-03

Mozart: Piano Concertos Nos. 20 & 23 [Japan]

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Mozart: Piano Concertos Nos. 20 & 23 [Japan]
Monique De La Bruchollerie
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000OLG7PW
Release Date: 2007-06-04

Tracks:

Alllegro
Romance
Rondo Allegro Assai
Allegro
Adagio
Allegro Assai

Average customer rating:

With motive of Mozart's 250th anniversary!
BUYER BEWARE
Well, it IS Michelangeli, but is it Mozart?

Mozart: Piano Concertos Nos. 20 & 23

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

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Ravel/Rachmaninov: Piano Concertos

ASIN: B00005NHKJ
Release Date: 2001-09-04

Customer Reviews:

With motive of Mozart's 250th anniversary!.......2006-05-24

I must start noticing the fact there have been countless versions about these two well known Piano Concertos, but for the most of pianists the 20th Piano Concerto has become his personal Waterloo. This is probably, the most difficult, complex and intriguing of this set. The fortunate blending of such talented musicians left us for the posterity amazing results.

The wisdom vision and accurate phrasing of Michelangeli(who was in his 37) plus the notable support from the podium of Carlo maria Giulini allowed to perform one of the most sublime, distinguished and propulsive versions ever recorded.

The dark and somber environment of the first part of the First Movement, the change of modulation in the second Movement between the raising shadow of the tragedy and the profound nostalgic attachment of the far memories of the vanished youth shake hands. This Concert is absorbing in summon grade, it demands from soloist and director a cabal understanding of the thematic material. And being the First of the whole set of future Concerts to come, impregnated with furtive visions and dreamy reflections, it constitutes a real breakthrough respect the previous Mozart. If you only play the score without taking in mind the whole significance of this work, you take a very dangerous risk about it.

The 23th Concerto does not present such conceptual aspects. It' s much clear, lineal and less ambitious. It' s not a transition work and the tragedy is not hidden like an army of barefoot demons spying beneath the pages of the score.

The subduing approach, sublime charm and superb conception around both Concerts, you will never find in later recordings where you simply will enjoy musical happening, where restraining and minimizing the dramatis personae of the work, you will enjoy a good time, because of a distorted and even speculative vision.

Acquire as soon as possible this legendary album.

BUYER BEWARE.......2005-01-04

The combination of this recorded sound with Michelangeli makes a high rating impossible. More than anything else, what made Michelangeli unique was his tone-production. Being familiar with his playing, I could just about recognise him through the odd muffled sound of this 1951 live concert with Giulini.

The actual performances were probably quite good. I don't think I was looking for particular illumination of Mozart from Michelangeli as I might look for it from Brendel or Serkin or Curzon or Perahia, but everything he did was interesting. Tempi are very reasonable and nothing struck me as out of style except maybe a few 'expressive' little rhythmic inflexions. One of the critics quoted in the notes that come with these performances in Europe on the Urania label tries to make an issue of the way M handles the opening solo theme in the D minor at a slower speed than the other material, but I can't see much of a problem in that. Richter does something similar and it seems a perfectly reasonable approach to me. Cadenzas are less important, and in the D minor I don't know whose M is using but I'd rather he hadn't. Richter, Serkin and Katchen use Beethoven's.

The problems with the sound are mainly with the piano, but there is a ghastly strangulated sound to the clarinets at the start of the A major. Otherwise I suppose I have heard worse and put up with it better. I didn't get much enlightenment from the European (Urania label) leaflet either, which is largely bombastic Higher Criticism saying not much, and very clumsily translated. In the last resort I was intrigued to find out what this great player might have done in music I don't specially associate him with, and I suppose I have got something of what I was after. I also played versions I have by Serkin, Richter, Solomon and Katchen, so the exercise was enjoyable to that extent. However that is a very limited subset of what is available, and anyone looking for a categorical recommendation will have to do a lot more research. To be going on with, I am pleased to say that Britain is very well represented in the A major stakes by Solomon and Curzon. As regards the D minor, the account by Serkin and Szell strikes me as having something very special about it, whatever the competition, because of the absolute empathy of these boyhood friends, a regal quality to Serkin's playing and his vivid handling of the finale. There is a rough side to Mozart's genius as Shaw very well said, and Serkin is not afraid of that.

So 3 stars on a benefit-of-the-doubt basis because of the intrinsic interest of anything left to us by Michelangeli.

Well, it IS Michelangeli, but is it Mozart?.......2005-01-04

Several caveats about this CD. It is in execrable sound, taken from live performances for Italian radio in 1951. I got it primarily because I admire Michelangeli enormously and I also have great admiration for Carlo Maria Giulini as a conductor. Having said that, though, I must admit that except for a few moments I was not terribly taken by the performances. I was intrigued however by ABM's use of completely unknown cadenzas in the D Minor Concerto, K. 466. They clearly aren't the ones Beethoven wrote out of his great admiration for this concerto. And they aren't Hummel's far inferior set, either. So who wrote them? They sound to be much later in style than either Beethoven or Hummel and I would guess, from style alone, that they were written perhaps in the middle third of the 19th century (unless, of course, they are more modern but intentionally written in an old style). Whatever they are, they're rather nice, with some chromaticism that Mozart certainly wouldn't have used, but considering that the D Minor is Mozart's most dramatic, even Romantic, concerto, perhaps that's not too far amiss. As to ABM's playing, I would have to say that he is not a natural Mozart player. Although one can almost hear him gearing back, there is no doubt that he brings a Romantic sensibility to the two concerti. That works better in the D Minor, but in the sunny A Major concerto, K. 488, it really feels wrong. Further, Giulini's accompaniment is full of dramatic gestures that don't fit Mozart's style at all. And the RAI/Rome orchestra sounds scrappy at best; the bass-shy monaural acoustic doesn't help matters.

Still it is interesting to hear how Michelangeli was playing at age 31, just before he became gravely ill and had to interrupt his career for a time (as he had had to do while serving in the Italian air force during WWII). He SOUNDS like Michelangeli, but there is less of a lapidary manner that we became familiar with in his later recordings. There are even a couple of dropped notes, something that almost never happens in live recordings by ABM. Gasp!

I cannot give this CD more than three stars, and do that only because Michelangeli, even when playing in repertoire that is not natural for him, is still a giant. But I suppose this CD would be only for ABM completists, like my esteemed fellow Amazon reviewer, David Bryson, whose knowledge about ABM far exceeds mine. I know he owns these performances, but he seems not to have reviewed them, at least this Classica D'Oro pressing of them.

Scott Morrison

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Barenboim's Mozart
sounds like Beethoven but still wonderful

Mozart: Piano Concertos Nos. 20-27

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000000SDY
Release Date: 1992-04-28

Tracks:

Piano Concerto No. 20 In D Minor, K. 466: Allegro - Cadenza: Ludwig van Beethoven
Piano Concerto No. 20 In D Minor, K. 466: Romance
Piano Concerto No. 20 In D Minor, K. 466: Allegro assai - Cadenza: Daniel Barenboim
Piano Concerto No. 21 In C Major, K. 467: [Allegro maestoso] - Cadenza: Daniel Barenboim
Piano Concerto No. 21 In C Major, K. 467: Andante
Piano Concerto No. 21 In C Major, K. 467: Allegro vivace assai - Cadenza: Daniel Barenboim

Tracks:

Piano Concerto No. 22 In E Flat Major, K. 482: Allegro - Cadenza: Daniel Barenboim
Piano Concerto No. 22 In E Flat Major, K. 482: Andante
Piano Concerto No. 22 In E Flat Major, K. 482: Allegro - Andante cantabile - Tempo primo - Cadenza: Edwin Fischer (Abridged)
Piano Concerto No. 23 In A Major, K. 488: Allegro - Cadenza: Mozart
Piano Concerto No. 23 In A Major, K. 488: Adagio
Piano Concerto No. 23 In A Major, K. 488: Allegro assai

Tracks:

Piano Concerto No. 24 In C Minor, K. 491: Allegro - Cadenza: Daniel Barenboim
Piano Concerto No. 24 In C Minor, K. 491: Larghetto
Piano Concerto No. 24 In C Minor, K. 491: Allegretto
Piano Concerto No. 25 In C Major, K. 503: Allegro maestoso - Cadenza: Daniel Barenboim
Piano Concerto No. 25 In C Major, K. 503: Andante
Piano Concerto No. 25 In C Major, K. 503: Allegretto

Tracks:

Piano Concerto No. 26 In D Major, K. 537: Allegro - Cadenza: Wanda Landowska
Piano Concerto No. 26 In D Major, K. 537: [Larghetto]
Piano Concerto No. 26 In D Major, K. 537: [Allegretto]
Piano Concerto No. 27 in B flat major, K. 595: Allegro - Cadenza: Mozart
Piano Concerto No. 27 in B flat major, K. 595: Larghetto
Piano Concerto No. 27 in B flat major, K. 595: Allegro - Cadenza: Mozart

Customer Reviews:

Barenboim's Mozart.......2006-03-02

Thre is no better Mozart interpreter than Daniel Barenboim. His talent and expertise is, of course, superior. That is not just my opinion. Everyone agrees with that. But the point here is the expression and "elan" he brings to Mozart. Compared to Mr, Barenboim, everyone else sounds dull and stoggy. I no longer care to listen to any of the others.

Mozart is arguablly the most talented of composers and Barenboim is perhaps the most talented of the current performers of his music.

sounds like Beethoven but still wonderful.......2006-02-02

Barenboim's tone is firm and has a good edge around it. It reminds me piano's sound comes from a hammer hitting a string - even when he plays softly. More punch and clarity compared to any other version. His interpretation is romantic and virtuosic.
Berlin Phil's sound is rich and grand - exactly opposite of the historically informed performance practice. A little pompous but still top-notch.
Perahia and Brendel both offer more intimate renditions. Especially Perahia's playing has everything you ever want for Mozart - lyrical, lively, tender, bittersweet......simply heart-stopping. If the recording quality was above average, his recordings would be undoubtedly my first choice. Brendel's playing is insightful and full of beautiful moments. But he tends to be too deliberate to create peculiar tones he wants and to deliver more legato.
If you think you will enjoy a very well-played and extremely well-recorded Mozart's concertos with a slight hint of Beethoven, Barenboim is your guy.

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Mozart: Piano Concertos Nos. 20 & 23

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00076ON64
Release Date: 2005-02-22

Tracks:

Allegro
Romanze
Rondo (Allegro Assai)
Allegro
Adagio
Allegro Assai

Average customer rating:

Great Composers Collection

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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Tracks:

The Well Tempered Clavier: Prelude and Fugue In C Major, BWV 846
Brandenburg Concerto No.3 In G Major, BWV 1048: Allegro
Brandenburg Concerto No.3 In G Major, BWV 1048: Adagio
Brandenburg Concerto No.3 In G Major, BWV 1048: Allegro
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Allegro
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Adagio ma non tanto e dolce
Concerto In A Minor, BWV 1004 For Flute, Violin, Harpsichourd And Basso Continuo: Alla breve
Suite No.2 In B Minor, BWV 1067: Overture
Suite No.2 In B Minor, BWV 1067: Rondeau
Suite No.2 In B Minor, BWV 1067: Sarabande
Suite No.2 In B Minor, BWV 1067: Bouree I
Suite No.2 In B Minor, BWV 1067: Bouree II
Suite No.2 In B Minor, BWV 1067: Polonaise I
Suite No.2 In B Minor, BWV 1067: Polonaise II
Suite No.2 In B Minor, BWV 1067: Double
Suite No.2 In B Minor, BWV 1067: Menuetto
Suite No.2 In B Minor, BWV 1067: Badinerie
Italian Concerto In F Major, BWV 971: (Without Indication)
Italian Concerto In F Major, BWV 971: Andante
Italian Concerto In F Major, BWV 971: Presto

Tracks:

Symphony No.5 in C minor op.67:: Allegro con brio
Rondo a capriccio in G major op.129: 'The Rage Over The Lost Penny'
Septet op.20 in E flat major: Menuetto
Overture Op.72a: Leonore
Sonata No. 14 in C sharp minor (Moonlight): Adagio sostenuto
Sonata in A major op.47 (Kreutzer): Finale-Presto
Concerto for Piano and Orchestra No.5 in E flat major op.73 (Emperor): Adagio un poco mosso
Bagatelle in A minor No.59: Fur Elise
Symphony No.9 In D Minor Op.125: Finale: Ode To Joy

Tracks:

Prelude In D Flat Major 'Raindrops': 1. op. 28 No.15
Concerto for Piano and Orchestra No. 2 in F minor op.21: Maestoso
Concerto for Piano and Orchestra No. 2 in F minor op.21: Larghetto
Concerto for Piano and Orchestra No. 2 in F minor op.21: Allegro vivace
Ballad No. 1 in G minor op 23
Fantasy - Improptu op. 66
Etude In C Minor Op.10 No.12 'Revolution': Allegro con fuoco
Scherzo No. 2 in B flat minor op.31
Waltz No. 6 in D flat major op.64-1:

Tracks:

Watermusic, Suite:: Allegro
Watermusic, Suite:: Air
Watermusic, Suite: Bourree
Watermusic, Suite: Hornpipe
Watermusic, Suite: Andante espressivo
Watermusic, Suite: Hornpipe II
'Xerxes': Largo
Music of the Royal Fireworks, Suite: Overture
Music of the Royal Fireworks, Suite: Burree
Music of the Royal Fireworks, Suite: La paix (The Peace)
Music of the Royal Fireworks, Suite: La rejouissance (The Joy)
Music of the Royal Fireworks, Suite: Menuett I
Music of the Royal Fireworks, Suite: Menuett II
Concerto grosso op.10 No.10 ('Alexander Feast'): Overture
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Air: Lentement
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro
Concerto grosso op.10 No.10 ('Alexander Feast'): Allegro moderato
Gavotte and Passepied
'The Messiah': Hallelujah

Tracks:

Concerto For Piano And Orchestra No. 1 In E Flat Major: Allegro maestoso
Concerto For Piano And Orchestra No. 1 In E Flat Major: Quasi Adagio
Concerto For Piano And Orchestra No. 1 In E Flat Major: Allegro marziale animato - Presto
Love Dream No. 3 In A Flat Major: Piano solo
Hungarian Rhapsody No. 2 In C Sharp Minor: Piano solo
Evening Harmony In D Flat Major: Piano solo
Large Orchestra: 'Mephisto-Waltz'
Hungarian Rhapsody No. 6 in D flat major: Orchestra

Tracks:

'A Little Night Music' Serenade No.13 In G Major KV525: Allegro
'A Little Night Music' Serenade No.13 In G Major KV525: Romanza: Andante
'A Little Night Music' Serenade No.13 In G Major KV525: Menuetto - Trio - Menuetto: Allegretto
'A Little Night Music' Serenade No.13 In G Major KV525: Rondo: Allegro
Symphony No.41 In C Major KV 551: Molto Allegro
The Magic Flute KV 620: Oveture
12 Variations About ' - ' KV265: 'Ah, vous dirai-je, Maman'
Symphony No.40 in G minor KV 550: Molto allegro
Sonata for Piano No.11 in A major KV 331: Rondo alla turca
Concerto for Piano and Orchestra No.23 in A major KV 488: Allegro

Tracks:

Orchestra: Bolero
Poeme choregraphique - for Orchestra: La Valse
Concerto for Piano and Orchestra in G major: Allegremente
Concerto for Piano and Orchestra in G major: Adagio assai
Concerto for Piano and Orchestra in G major: Presto
Orchestra: Rhapsodie Espagnole

Tracks:

1. Op. 437: Emperor Waltz
Waltz op.314: The Blue Danube
Fast Polka op.324: Thunder and Lightning
Waltz op.410: Voices of Spring
A musical joke op. 257: Perpetuum mobile
Waltz op.354: Venna Blood
Op.214: Tritsch-Tratsch Polka
The Bat: Overture
Treasure Waltz op. 418: The Gypsy Baron

Tracks:

Concerto for Piano and Orchestra No. 1 in B flat minor op.23: Allegro non tropo e molto maestoso - Allegro con brio
Nutcracker Suite op.71a: Flower Waltz
Nutcracker Suite op.71a: Dance of the Reed Flutes
Overture solenelle '1812' Op.49
Swan-Lake Suite op20a: Lake in the Moonlight
Swan-Lake Suite op20a: Hungarian Dance
Concerto for Violin and Orchestra in D major op.35: Canzonetta: Andante
Symphony No. 6 in B minor op.74: Finale: Adagio lamentoso

Tracks:

Concerto NO.1 op.8 IN E: Allegro
The Spring Op.8 No.1: Largo e pianissimo sempre
The Spring Op.8 No.1: Allegro (Danzo pastorale)
The Summer Op.8 No.2: Allegro non molto - Allegro, e tutto sopra il Canto
The Summer Op.8 No.2: Adagio e piano
The Summer Op.8 No.2: Presto, tempo impettuoso d'Estate
The Autumn Op.8 No.3: Allegro
The Autumn Op.8 No.3: Adagio molto
The Autumn Op.8 No.3: La Caccia (Allegro)
The Winter Op.8 No.4: Allegro non molto
The Winter Op.8 No.4: Largo
The Winter Op.8 No.4: Allegro
Concerto for two Trumpets and String Orchestra:: Allegro
Concerto for two Trumpets and String Orchestra: Largo
Concerto for two Trumpets and String Orchestra: Concerto for two Trumpets and String Orchestra: Allegro
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Largo 'Fantasy', Presto
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Allegro
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Largo 'Il Sonno'
Concerto For Flute And Orchestra In G Minor Op.10 No.2: Allegro
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Presto
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Adagio
Concerto For Strings And Basso Continuo In G Major 'All Rustica' RV 151: Allegro

Average customer rating:

sounds like Beethoven but still wonderful
Magnificent Mozart by Barenboim and the Berlin Philharmonic
A near perfect Classical listening experience.

Mozart: Piano Concertos Nos. 20-23

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000006CRU
Release Date: 1998-03-17

Tracks:

Piano Concerto No. 20, K. 466 In D Minor: Allegro
Piano Concerto No. 20, K. 466 In D Minor: Romance
Piano Concerto No. 20, K. 466 In D Minor: Allegro assai
Piano Concerto No. 21, K. 467 In C Major: (Allegro maestoso)
Piano Concerto No. 21, K. 467 In C Major: Andante
Piano Concerto No. 21, K. 467 In C Major: Allegro vivace assai

Tracks:

Piano Concerto No. 22, K. 482 In E Flat Major: Allegro
Piano Concerto No. 22, K. 482 In E Flat Major: Andante
Piano Concerto No. 22, K. 482 In E Flat Major: Allegro-Andante cantabile-Tempo primo
Piano Concerto No. 23, K. 488 In A Major: Allegro
Piano Concerto No. 23, K. 488 In A Major: Adagio
Piano Concerto No. 23, K. 488 In A Major: Allegro assai

Customer Reviews:

sounds like Beethoven but still wonderful.......2006-02-02

Magnificent Mozart by Barenboim and the Berlin Philharmonic.......2004-03-28

The Mozart piano concertos are some of the most exraordinary pieces from the Viennese Classical period written by a composer who was a master of both keyboard and orchestral writing. The Concertos Nos. 20 through 23 represent the height of his achievements in this genre and include the D minor, k466; C major k467 (Elvira Madigan), E-flat major k482; and A major, k 488.

Written at age 30, in these four works Mozart goes above and beyond using the concerto for simple entertainment and dazzling keyboard virtuosity. Each is a carefully crafted piece and different from the rest. The D minor (No. 20) is one of only two concertos Mozart wrote in the minor mode: its first movement features an ominously mysterious opening and many sudden dynamics; the second movement 'romance' has a fast section in the middle; and the last movement has a triumphant coda in D major. The opening to the C major (No. 21) is march-like with sparkling trills in the wind parts; its second movement is probably the most famous movement of any of the concertos with the aching duple vs. triple theme--the piano plays a melody in eighth notes while the strings strum their chords in triplets). And I could go on talking about each movement of each concerto.

The Berlin Philharmonic goes about doing what it does best, namely being one of the world's best orchestras. The sound is warm and lush, notes are perfectly in tune, and colors from both the winds and strings are beautiful and well-balanced (and the wind parts are especially prominent in these concertos, so this is an important note) . The Berliners command every color, from the suspenseful opening of No. 20 to the heroic opening of No. 22 to the simple melody at the outset of No. 23. Barenboim is also showing his best, shaping phrases of half notes and quarter notes as deftlly and beuatifully as his easily dispatched sixteenth note runs. He is expressive while staying in the range of what Mozart's music naturally allows. Barenboim is conducting as well, as has become a relatively common performance practice for these pieces. (Mostly, Barneboim plays his own cadenzas but also uses cadenzas by Mozart and Beethoven where standard.)

As for Teldec, the engineers have done a remarkable job; the liner notes could be better. These are some of the best Mozart piano concertos I have ever heard and at 2 CDs for the price of one, I recommend that you dig in and enjoy!

A near perfect Classical listening experience........1999-07-01

Although I'm not an expert on Mozart, I feel that this is the most moving, well performed CD that I've listened too in years. Many of the themes are well known but not always associated with these three piano concertos. Add the fact that the sound quality is quite good and you have a near perfect classical listening experience.

Music Track:

Music Track

music track

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