Mozart: Concertos for piano No27; Concerto for pianos No10

Editorial Reviews
Amazon.com
This is a record to warm the heart and buoy the spirit: the music is intoxicatingly beautiful and the performances do it full justice. The two Concertos, with Barenboim taking the upper part in the Double, were recorded live at a Promenade Concert in 1979, the Sonata at Aldeburgh in 1960; all have the spontaneity, and the minor imperfections, of unretouched public performances. Curzon's famous simplicity, directness, and inwardness of expression are everywhere in evidence: the tone sings, the pacing is judicious, the phrasing elegant, every note counts, every detail is lovingly caressed, every transition and modulation is poised just right. The concertos' fast movements are gracious, leisurely, humorous, mischievous; in the Double, which Mozart wrote for himself and his sister, the interplay is joyous and fraternal, and his last and perhaps greatest piano concerto could not be nobler or more profound. The sonata is bright, brilliant, and joyful; the slow movement is delicate yet sonorous; the phrasing like human speech. The ensemble radiates mutual admiration and pleasure in the collaboration. --Edith Eisler

Amazon.com

This is a record to warm the heart and buoy the spirit: the music is intoxicatingly beautiful and the performances do it full justice. The two Concertos, with Barenboim taking the upper part in the Double, were recorded live at a Promenade Concert in 1979, the Sonata at Aldeburgh in 1960; all have the spontaneity, and the minor imperfections, of unretouched public performances. Curzon's famous simplicity, directness, and inwardness of expression are everywhere in evidence: the tone sings, the pacing is judicious, the phrasing elegant, every note counts, every detail is lovingly caressed, every transition and modulation is poised just right. The concertos' fast movements are gracious, leisurely, humorous, mischievous; in the Double, which Mozart wrote for himself and his sister, the interplay is joyous and fraternal, and his last and perhaps greatest piano concerto could not be nobler or more profound. The sonata is bright, brilliant, and joyful; the slow movement is delicate yet sonorous; the phrasing like human speech. The ensemble radiates mutual admiration and pleasure in the collaboration. --Edith Eisler

Customer Reviews:

Disappointing Mozart.......2004-05-17

I'd always heard that Curzon was a fine Mozartian, however on all the occasions that I've heard his recordings, I'd been disappointed. Unfortunately, this live recording does nothing to change my initial impression. The Barenboim-Curzon partnership is a poor one, and there appears to be no clear common conception with regards to performing Mozart. This is a case where opposites fail to attract. The B-flat concerto is no less uninspiring. The tempo is too slow to bring out Mozart's charm and playfulness, but is also too slow to convey depth or poetic fantasy. This is stuffy Mozart, which gives academic interpretations a poor reputation.

Doesn't do justice to the performers or composer.......2001-12-15

This CD was a terrible disappointment. When I bought it, I was not aware that it was recorded at a live concert. Apparently the engineering was very poor because the sound of the pianos is not well balanced and the pianos are not well tuned. In addition, someone in the audience is coughing throughout the concert. I am sorry I wasted my money on what should have been a beautiful recording.

Curzon and Barenboim Shine.......2000-12-15

Clifford Curzon was an unequaled interpreter of Mozart, but sadly he made very few recordings. On this magnificent CD are remastered live recordings from several decades ago, on which Curzon plays with, as well as accompanied by, a young Daniel Barenboim. I own several dozen recordings of Mozart piano concertos, and this is my absolute favorite.

Track Listings:

Track Listings

track listings

Track Listings

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