Mozart: Piano Concertos No 19 & 27 / Haskil, Fricsay

Editorial Reviews
Amazon.com
Clara Haskil, who died in 1960, was a connoisseur's pianist. She specialized in the Classical era and rarely played showpieces. Her relatively few recordings are still treasured by collectors. These two Mozart Concerti, seconded by a fine conductor, are so subtly played they sound almost dull at first; they certainly aren't recommended to people who like their Mozart boisterous. Listened to with respect, the performances--and the music--gradually reveal their secrets. The Sonata, recorded in stereo, is beautifully performed and more vivid in sound. --Leslie Gerber

Mozart: Piano Concertos No 19 & 27 / Haskil, Fricsay, Music, Wolfgang Amadeus Mozart, Ferenc Fricsay, Bavarian State Opera Orchestra, Bavarian State Orchestra, Bayerisches Staatsorchester München, Berliner Philharmoniker, Clara Haskil, Classical, Classical Composers, Classical Music, Classical Sonata/Sonatina for Keyboard, Concerto, Keyboard, Piano Concerto

Average customer rating:

cherry picking

Brendel and Marriner play Mozart at a bargain price

Mozart: The Great Piano Concertos, Vol. 1 Alfred Brendel

Mozart's great piano concertos, Vol 1 and Vol 2

great pianist, great price, bad track listing

Mozart: The Great Piano Concertos, Vol. 1

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
General | Concertos | Forms & Genres | Classical | Styles | Music
General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Piano | Keyboard | Instruments | Classical | Styles | Music
Marriner, Sir Neville | ( M ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B000004194
Release Date: 1994-04-12

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.

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

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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

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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:

Great Orchestra but bad "mix" with fortepiano
Unparalleled Performance
Man-eating piano slain
Excellent - but not perfect!
The star's the limit

Mozart: The Piano Concertos

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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Complete Mozart Symphonies / Pinnock, English Concert
Mozart: The Piano Concertos
Beethoven - The Symphonies / Augér, Robbin, Rolfe Johnson, Reinhart, AAM, Hogwood
Bach: Concertos
Mozart: Piano Sonatas

ASIN: B00002DEGZ
Release Date: 2001-03-13

Tracks:

Concerto For Piano And Orchestra No.5 In D Major, K.175: 1. Allegro
Concerto For Piano And Orchestra No.5 In D Major, K.175: 2. Andante, ma un poco adagio
Concerto For Piano And Orchestra No.5 In D Major, K.175: 3. Allegro
Concerto For Piano And Orchestra No.6 In B Flat Major, K.238: 1. Allegro aperto
Concerto For Piano And Orchestra No.6 In B Flat Major, K.238: 2. (Andante un poco adagio)
Concerto For Piano And Orchestra No.6 In B Flat Major, K.238: 3. Rondeau: Allegro
Concerto For Three Pianos And Orchestra No.7 In F Major, K.242: 1. Allegro
Concerto For Three Pianos And Orchestra No.7 In F Major, K.242: 2. Adagio
Concerto For Three Pianos And Orchestra No.7 In F Major, K.242: 3. Rondeau: Tempo di Menuetto
Rondo In D Major, K.382: Rondeau: Allegretto grazioso - Adagio - Allegro

Tracks:

Concerto For Piano And Orchestra No.8 In C Major, K.246: 1. Allegro aperto
Concerto For Piano And Orchestra No.8 In C Major, K.246: 2. Andante
Concerto For Piano And Orchestra No.8 In C Major, K.246: 3. Rondeau: Tempo di Menuetto
Concerto For Piano And Orchestra No.9 In E Flat Major, K.271: 1. Allegro
Concerto For Piano And Orchestra No.9 In E Flat Major, K.271: 2. Andantino
Concerto For Piano And Orchestra No.9 In E Flat Major, K.271: 3. Rondeau: Presto - Menuetto: Cantabile - Tempo primo
concerto For Two Pianos And Orchestra No.10 In E Flat Major, K.365: 1. Allegro
2. Andante
3. Rondeau: Allegro

Tracks:

Concerto For Piano And Orchestra No.11 In F Major, K.413: 1. Allegro
Concerto For Piano And Orchestra No.11 In F Major, K.413: 2. Larghetto
Concerto For Piano And Orchestra No.11 In F Major, K.413: 3. Tempo di Menuetto
Concerto For Piano And Orchestra No.12 In A Major, K.414: 1. Allegro
Concerto For Piano And Orchestra No.12 In A Major, K.414: 2. Andante
Concerto For Piano And Orchestra No.12 In A Major, K.414: 3. Allegretto
Concerto For Piano And Orchestra No.13 In C Major, K.415: 1. Allegro
Concerto For Piano And Orchestra No.13 In C Major, K.415: 2. Andante
Concerto For Piano And Orchestra No.13 In C Major, K.415: 3. Allegro

Tracks:

Concerto For Piano And Orchestra No.14 In E Flat Major, K.449: 1. Allegro vivace
Concerto For Piano And Orchestra No.14 In E Flat Major, K.449: 2. Andantino
Concerto For Piano And Orchestra No.14 In E Flat Major, K.449: 3. Allegro, ma non troppo
Concerto For Piano And Orchestra No.15 In B Flat Major, K.450: 1. Allegro
Concerto For Piano And Orchestra No.15 In B Flat Major, K.450: 2. (Andante)
Concerto For Piano And Orchestra No.15 In B Flat Major, K.450: 3. Allegro
Concerto For Piano And Orchestra No.18 IN B Flat Major, K.456: 1. Allegro vivace
Concerto For Piano And Orchestra No.18 IN B Flat Major, K.456: 2. Andante un poco sostenuto
Concerto For Piano And Orchestra No.18 IN B Flat Major, K.456: 3. Allegro vivace

Tracks:

Concerto For Piano And Orchestra No.16 In D Major, K.451: 1. Allegro assai
Concerto For Piano And Orchestra No.16 In D Major, K.451: 2. (Andante)
Concerto For Piano And Orchestra No.16 In D Major, K.451: 3. Allegro di molto
Concerto For Piano And Orchestra No.19 In F Major, K. 459: 1. Allegro
Concerto For Piano And Orchestra No.19 In F Major, K. 459: 2. Allegretto
Concerto For Piano And Orchestra No.19 In F Major, K. 459: 3. Allegro assai
Concerto For Piano And Orchestra No.21 In C Major, K.467: 1. Allegro
Concerto For Piano And Orchestra No.21 In C Major, K.467: 2. Andante
Concerto For Piano And Orchestra No.21 In C Major, K.467: 3. Allegro vivace assai

Tracks:

Concerto For Piano And Orchestra No.17 In G Major, K.453: 1. Allegro
Concerto For Piano And Orchestra No.17 In G Major, K.453: 2. Andante
Concerto For Piano And Orchestra No.17 In G Major, K.453: 3. Allegretto
Concerto For Piano And Orchestra No.20 In D Minor, K.466: 1. Allegro
Concerto For Piano And Orchestra No.20 In D Minor, K.466: 2. Romance
Concerto For Piano And Orchestra No.20 In D Minor, K.466: 3. Rondo (Allegro assai)
Rondo In A Major, K.386: Allegretto

Tracks:

Concerto For Piano And Orchestra No.22 In E Flat Major, K.482: 1. Allegro
Concerto For Piano And Orchestra No.22 In E Flat Major, K.482: 2. Andante
Concerto For Piano And Orchestra No.22 In E Flat Major, K.482: 3. Allegro
Concerto For Piano And Orchestra No.23 In A Major, K.488: 1. Allegro
Concerto For Piano And Orchestra No.23 In A Major, K.488: 1. Adagio
Concerto For Piano And Orchestra No.23 In A Major, K.488: 3. Allegro assai

Tracks:

Concerto For Piano And Orchestra No.24 In C Minor, K.491: 1. (Allegro)
Concerto For Piano And Orchestra No.24 In C Minor, K.491: 2. Larghetto
Concerto For Piano And Orchestra No.24 In C Minor, K.491: 3. (Alegretto)
Concerto For Piano And Orchestra No.25 In C Major, K.503: 1. Allegro maestoso
Concerto For Piano And Orchestra No.25 In C Major, K.503: 2. Andante
Concerto For Piano And Orchestra No.25 In C Major, K.503: 3. (Alegretto)

Tracks:

Concerto For Piano And Orchestra No.26 In D Major, K.537: 1. Allegro
Concerto For Piano And Orchestra No.26 In D Major, K.537: 2. Larghetto
Concerto For Piano And Orchestra No.26 In D Major, K.537: 3. (Allegretto)
Concerto For Piano And Orchestra No.27 In B Flat Major, K.595: 1. Allegro
Concerto For Piano And Orchestra No.27 In B Flat Major, K.595: 2. Larghetto
Concerto For Piano And Orchestra No.27 In B Flat Major, K.595: 3. Allegro

Customer Reviews:

Great Orchestra but bad "mix" with fortepiano.......2007-06-06

First of all the playing by all parties is impeccable. Nothing else to say about that. My only complaint, and it's a big one, is that the volume/presence of the fortepiano is WAY TOO WEAK compared to the orchestra. It is virtually impossible to listen to this in the car for when the orchestra is at a comfortable volume the fortepiano is all but muted, and if you want to hear the fortepiano then the orchestra blows the speakers out. One may argue that one should listen to these with great attention with a real stereo system, but given that that isn't always possible (I drive 2-3 hours a day, and that's when I have a chance to feed my melomania) I was EXTREMELY disappointed in the sound mix of these otherwise technically superb CDs, especially given that it wasn't cheap. :)

Unparalleled Performance.......2006-04-07

If you want to hear the sheer monumental, inexpressable genius of Mozart's music, this box set is essential. 5 stars does not even begin to describe the level of performance that Bilson, Gardiner, and the EBS set with these recordings. Truly astounding. But like one previous reviewer stated, it is pointless to write a review and even worse to rate it on a scale of one to five. You have to hear it for yourself.

Man-eating piano slain.......2006-02-24

It's not that Bilson is the world's greatest (forte-) pianist, although he's very, very good. (He's better as a performer than as a composer--he uses his own cadenzas where better ones, such as Beethoven's in #20, are commonly played.) It's not that two centuries of developing the modern piano were wasted effort, and the fortepiano sounds best after all. It's not that history trumps musicality. What makes these recordings great is that an appropriate balance between soloist and orchestra is restored.

Anyone with a sense of musical proportion, who listens carefully to recordings of piano concertos, can tell that the piano is often in the foreground when it belongs in the background, and backup from other instruments is often nearly inaudible. Of course this is especially true of the earlier concertos (Bach, Haydn, Mozart), which were scored and written based on the feeble solo instruments of the time.

Here, Archiv's restraint in miking/mixing, on top of the severe limitations of the fortepiano, greatly shifts the balance of power back towards the orchestra. This is not invariably an improvement, but most of the time it restores proper proportion to Mozart's music, with outstanding results. Often it adds drama, because instead of floating above the orchestral fray, the soloist must play very forcefully to address the competing sound of the orchestra. Perhaps the orchestra plays with a bit more conviction knowing they're not just going to be overrun by a Steinway the size of an Amtrak.

As Bilson was literally the first to admit (in the original CD notes), the fortepianos he plays cannot deliver the long legato line that pianists use to great effect in the slow movements. So there is much to be said for hearing these works on the modern piano. But Bilson and Gardiner take the bull by the horns, pick up the tempo as needed, and make the slow movements convincing on their own terms.

I got the full-priced edition years ago, and greatly enjoy going back and forth between it and modern-piano versions. Highly, though not exclusively, recommended.

Excellent - but not perfect!.......2005-10-18

These discs have to compete with giants of the pianoforte (as opposed to the fortepiano). In general they are successful - but nothing can erase some of the greatest modern performances - by Annie Fisher, Murray Parahia,Zimmerman etc.

But it is a close run thing - and to hear these works as they were originally intended is revelatory. Sir John's contribution cannot be underestimated and reveal new depths to the orchestral part.

Malcolm Bilson is first class - and reveals new delights in every concerto. But I have to wonder what other pianists might do, if they took up the challenge of the fortepiano?

So - not up to the absolute best new versions - but worth having for the balance and sound that Mozart would have heard.

In essence - a great alternative version,

The star's the limit.......2005-07-21

All the words above, below and including mine are like flys being trapped in a web. Someone asks what you think of belgian waffles and you tell them. "oh yes!" They are satisfying and fluffy. You like them with alot of maple syrup and pecans. Well that's nice. But you're dealing with creations on quite a different scale here which are really good so let's use some upgraded adjectives like "wonderful", "works of genius" and "inspiring." Well that's nice too. But, why are you sitting here watching the different colored bottles on a conveyor belt instead of leaving the factory for the feild of spring wildflowers in the open sky?

Average customer rating:

Just right with a flourish
Music 5 Stars/Ashkenazy 3 Stars
A marriage made in heaven
Simply the best set of Mozart Piano Concertos
THE PINNACLE OF WESTERN MUSIC . . .

Mozart: The Piano Concertos
Vladimir Ashkenazy , Wolfgang Amadeus Mozart , Istvan Kertesz , English Chamber Orchestra , London Symphony Orchestra , Philharmonia Orchestra of London , Daniel Barenboim , and Fou Ts'ong
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Chopin: The Piano Works
Beethoven: The Piano Sonatas
Liszt: Piano Works
Complete Mozart Symphonies / Pinnock, English Concert
Haydn: The Complete Piano Sonatas

ASIN: B0000041KA
Release Date: 1997-06-24

Tracks:

Piano Concerto No. 5 In D Major, K175: I Allegro
Piano Concerto No. 5 In D Major, K175: II Andante ma un poco adagio
Piano Concerto No. 5 In D Major, K175: III Allegro
Piano Concerto No. 6 In B Flat Major, K238: I Allegro aperto
Piano Concerto No. 6 In B Flat Major, K238: II (Andante un poco adagio)
Piano Concerto No. 6 In B Flat Major, K238: III Rondeau: Allegro
Concerto For Three Painos In F Major, K242: I Allegro
Concerto For Three Painos In F Major, K242: II Adagio
Concerto For Three Painos In F Major, K242: III Rondeau: Tempo di menuetto

Tracks:

Piano Concerto No. 8 In C Major, K246: I Allegro aperto
Piano Concerto No. 8 In C Major, K246: II Andante
Piano Concerto No. 8 In C Major, K246: III Rondeau: Tempo di menuetto
Piano Concerto No. 9 In E Flat Major, K271 'Jeunehomme': I Allegro
Piano Concerto No. 9 In E Flat Major, K271 'Jeunehomme': II Andantino
Piano Concerto No. 9 In E Flat Major, K271 'Jeunehomme': III Rondeau: Presto - Menuetto - Presto
Piano Concerto No. 1In F Major, K37: I Allegro
Piano Concerto No. 1In F Major, K37: II Andante
Piano Concerto No. 1In F Major, K37: III (Allegro)

Tracks:

Piano Concerto No. 11 In F Major, K413-387a: I Allegro
Piano Concerto No. 11 In F Major, K413-387a: II Larghetto
Piano Concerto No. 11 In F Major, K413-387a: III Tempo di menuetto
Piano Concerto No. 12 In A Major, K414-385p: I Allegro
Piano Concerto No. 12 In A Major, K414-385p: II Andante
Piano Concerto No. 12 In A Major, K414-385p: III Allegretto
Concerto For Two Pianos In E Flat Major, K365-316a: I Allegro
Concerto For Two Pianos In E Flat Major, K365-316a: II Andante
Concerto For Two Pianos In E Flat Major, K365-316a: III Rondeau: Allegro

Tracks:

Piano Concerto No. 13 In C Major, K415-387b: I Allegro
Piano Concerto No. 13 In C Major, K415-387b: II Andante
Piano Concerto No. 13 In C Major, K415-387b: III Allegro
Piano Concerto No. 14 In E Flat Major, K449: I Allegro vivace
Piano Concerto No. 14 In E Flat Major, K449: II Andante
Piano Concerto No. 14 In E Flat Major, K449: III Allegro ma non troppo
Piano Concerto No. 15 In B Flat Major, K450: I Allegro vivace
Piano Concerto No. 15 In B Flat Major, K450: II Andante
Piano Concerto No. 15 In B Flat Major, K450: III Allegro

Tracks:

Piano Concerto No. 16 In D Major, K451: I Allegro
Piano Concerto No. 16 In D Major, K451: II Andante
Piano Concerto No. 16 In D Major, K451: III Allegro di molto
Piano Concerto No. 17 In G Major, K453: I Allegro
Piano Concerto No. 17 In G Major, K453: II Andante
Piano Concerto No. 17 In G Major, K453: III Allegretto
Piano Concerto No. 2 In B Flat Major, K39: I Allegro spiritoso
Piano Concerto No. 2 In B Flat Major, K39: II Andante
Piano Concerto No. 2 In B Flat Major, K39: III Molto allegro

Tracks:

Piano Concerto No. 18 In B Flat Major, K456: I Allegro vivace
Piano Concerto No. 18 In B Flat Major, K456: II Andante un poco sostenuto
Piano Concerto No. 18 In B Flat Major, K456: III Allegro vivace
Piano Concerto No. 19 in F Major, K459: I Allegro
Piano Concerto No. 19 in F Major, K459: II Allegretto
Piano Concerto No. 19 in F Major, K459: III Allegro assai
Piano Concerto No. 3 In D Major, K40: I Allegro maestoso
Piano Concerto No. 3 In D Major, K40: II Andante
Piano Concerto No. 3 In D Major, K40: III Presto

Tracks:

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
Piano Concerto No. 22 In E Flat Major, K482: I Allegro
Piano Concerto No. 22 In E Flat Major, K482: II Andante
Piano Concerto No. 22 In E Flat Major, K482: III Allegro

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. 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 Presto
Piano Concerto No. 4 In G Major, K41: I Allegro
Piano Concerto No. 4 In G Major, K41: II Andante
Piano Concerto No. 4 In G Major, K41: III Allegro

Tracks:

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
Piano Concerto No. 25 In C Major, K503: II Andante
Piano Concerto No. 25 In C Major, K503: III Allegretto
Rondo In D Major, K382

Tracks:

Piano Concerto No. 26 In D Major, K537 - 'Coronation': I Allegro
II Larghetto
Piano Concerto No. 26 In D Major, K537 - 'Coronation': III Allegretto
Piano Concerto No. 27 In B Flat Major, K595: I Allegro
Piano Concerto No. 27 In B Flat Major, K595: II Larghetto
Piano Concerto No. 27 In B Flat Major, K595: III Allegro
Rondo In A Major, K386

Customer Reviews:

Just right with a flourish.......2007-01-12

Requires the least possible effort beyond the normal exertion of attention
reserved for listening to simple background pleasantries. Lovely in other words, not pretentious at all, nothing else is required anywhere on a daily basis, still I suspect that most of you wouldn't mind a change now and again.

Music 5 Stars/Ashkenazy 3 Stars.......2006-04-25

Sorry but from listening to the 1 minute clip of the final movement pc 21, I have to go with Uchida, who in my opinion is the master of Mozart's last 8 pc;s.
I do not care for uchida's recordings of the 1-19, too thick handed for the style of those concertos.
Quick, nimble, playful was not present in Uchida of the 1-19.
Ashkenazy here is too busy with conducting to get the piano down with perfect nuances, which Mozart demands.

EDIT, I've just added to more clip r4eviews , opening move 21 and opening from the 24th pc. Reconfirms my opinuion that Uchida is much better articulated. And though Tate is aweful in the syms , in the pc's he's much more on to of things concentrating in conducting. Ashkenazy is juggling both, successful at times I'll admit. At other times sloppy. Its impossible for any performer to both conduct and play paino. Impossible as this set shows.
Nice Day

A marriage made in heaven.......2004-12-24

Rarely do soloists and orchestras create such an amazing musical experience. Even more rare is that this experience is duplicated over two dozen times. Vladimir Ashkenazy and the Philharmonia Orchestra create what is truly one of the crowning achievements of audiophile history.

I have owned this set now for nearly half a decade and I am still surprised by Ashkenazy's level of musicianship. Not that I have ever doubted his skill, rather, I am still amazed that this master of Rachmaninoff and the romantics approaches these pieces so perfectly. Ashkenazy plays these concertos as they should be played. His typical sense of drama is somewhat subdued, replaced with a sublime sense of delicacy and classical phrasing. He brings out the beautiful chromaticism, the magical melodies, and the pure beauty of Mozart effortlessly.

What is even more wonderful is that the orchestral accompaniment is top notch. Although these are not period performances, the Philharmonia plays with a classical grace and level of perfection that push these performances over the top. The orchestra's sound is full, accompanying Ashkenazy's "full" sound quite well. As mentioned above, Ashkenazy (who conducts these performances from the piano) instills in the orchestra the perfect balance of classical grace and dramatic flair.

Finally, the recorded sound is flawless. This set is so appealing to me because Ashkenazy approaches these performances in an organized, coherent fashion. Unlike his set of the Beethoven concertos (where Ashkenazy's technique, phrasing, and ultimate interpretation is dramatically different in each concerto), Ashkenazy maintains a sense of classical style throughout the cycle. And not only are the interpretations so consistent, but the sound is as well. It almost seems as if all the concertos were recorded in one session.

Moments like this are rare in music. There are certainly individual performances of the concertos that may be more appealing here or there, but all in all Ashkenazy's cycle delivers the most consistently fresh, powerful, and beautiful interpretations. For those that are not sure they want to invest so much for this set, look into Decca's CD of the "Big Six" concertos (20-25) on two CDs. But you would be missing out. Ashkenazy does not "run through" the earlier concertos but actually plays them all as if they were all equally masterful. I highly recommend this set. It is a wonderful musical investment.

Simply the best set of Mozart Piano Concertos.......2004-12-09

Ashkenazy's style is a very good fit with Mozart's piano works: light, articulate and playful. I could never part with this set. Those who only listen to the most popular concertos are missing out on some of the earlier works, which are just stunningly beautiful. The numerous scales in Mozart's scores represent a huge technical challenge, and Ashkenazy's natural fluidity makes the music very smooth and moving.

The orchestra is well balanced and remarkably well recorded. Overall, this is by far the best complete set of concertos out there. Warmly recommended.

THE PINNACLE OF WESTERN MUSIC . . ........2004-04-17

___________________________________________________________________________________________

. . . indeed, the pinnacle of musical achievement on Planet Earth - that's what I consider the piano concertos of Wolfgang Amadeus Mozart. And what better way to hear these concertos than in this superb cycle by Vladimir Ashkenazy. Though you may find an occasional performance that you prefer outside of this set, it is still, in my opinion, the only complete and best overall cycle of Mozart piano concertos - sure to provide you with hours of pleasure.

Ray Hoole's spotlight review above is very good and correct in calling attention to the recording concerns with Concerto No. 17 (K. 453) in this set. Still, only one flawed recording out of twenty-nine isn't bad. If No. 17 is a favorite of yours, as it certainly is of mine, may I suggest you augment this set with "MOZART: Piano Concertos (The Rubinstein Collection Vol. 61)" - RCA label, a small 2 CD album which contains concertos 17, 20, 21, 23 & 24. Not only is Arthur Rubinstein's 1961 performance of No. 17 superior to this one by Ashkenazy (in my opinion), the piano/orchestral balance is perfect in this beautifully remastered recording (and you're sure to like the other Rubinstein concerto performances as well).

Though the reviews for this set are overwhelmingly positive, you'll note an occasional preference for another artist's performances. This is only normal and amounts to purely subjective personal opinion. I've found that often times the first performance one hears of a particular classical piece (particularly if it's good) stays with that person for quite a while, sometimes indefinitely, and flavors the impression of all other performances heard thereafter. Personal preferences of tempo, artistic expression - such as cadenzas used, and orchestration will then be conciously, and subconciously, compared to that first exposure. I say this to make a point. The quality of the performances in this set by Vladimir Ashkenazy are definitely of the caliber needed to make first-time listeners feel certain they are hearing the best, while making more experienced listeners sure they are hearing first rate performances that, if not the absolute best, are certainly among the best they've ever heard. No two ways about it, MOZART: THE PIANO CONCERTOS by Vladimir Ashkenzy and the Philharmonia Orchestra is a 5 star cycle . . . Enjoy!

Mozart: Piano Concertos Nos. 19 & 20
Average customer rating:

A famous recording, but it sounds surprisingly underplayed

Mozart piano at it's finest!

Mozart: Piano Concertos Nos. 19 & 20

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001ENYJY
Release Date: 2004-02-24

Tracks:

I. Allegro
II. Allegretto
III. Allegro Assai
I. Allegro
II. Romance
III. Rondo: Allegro Assai
Allegretto Grazioso

Customer Reviews:

A famous recording, but it sounds surprisingly underplayed.......2006-06-15

For a long time Mozart's piano concertos were neglected except for those few that could be made to fit the Romantic mold, chief among them being the D minor, K. 466. Pianists often oerplayed to the point of sounding like quasi-Beethoven. Serkin and Szell certainly avoid that--the pickup Columbia Sym. Orch. is a small, lean group, Szell keeps everything under restraint, and Serkin follows suit with a surprising amount of underplaying. Admirers would say that this is clean, classic musicianship, but it sounds a bit bloodless to me. Even the rollicking Rondo finale flies by without either partner digigng beneath the surface.

The gentler F major concerto, K. 459 seems to suit their low-key approach better. As lovely as his touch is, I wish Serkin had more of a smile in his playing, and Szell sounds efficient rather than inspired. The opening Allegro is a bit slack in tempo, and the second movement Allegretto is more like an Andante. For this reissue, Sony gives us much better sonics than these early (1961) recordings had before. As filler we also get a much livelier reading of the Concert Rondo K. 382, conducted in robust style by Alexander Schneider (not Szell, as Amazon mistakenly lists). Serkin seems to be in fine humor here, and despite the boxy mono sound, this was the performance I enjoyed the most.

Mozart piano at it's finest!.......2004-12-02

Although I bought this CD to hear Serkin and Szell's take on the famous d minor concerto, it is really the F major one (number 19) that is the iceing on this CD. Simply one of the finest examples of Mozart recorded. Nothing, absolutely nothing is out of balance. The Columbia Symphony plays superbly for Szell and Serkin is completely in sync with them. The recording was made with such clarity in 1961, that it still rivals most current digital versions, and performance-wise, leaves them in the dust.

You have Serkin's almost unnatural ability to play the keys with an even weight, plus his beautiful touch, always each note very distinct and measured. And Szell giving the same weight to the orchestral soloists.

As I mentioned, I purchased this CD to hear the Serkin/Szell performance of the d minor concerto, which I can also say is just as good, but there are a few equally good recordings of this famous work (but none in the price range).

But the radiant performance of the F major concerto truly makes this a must buy CD. As an extra, the Second Rondo for piano and orchestra is included.

Mozart: Piano Concertos No 19 & 27 / Haskil, Fricsay

Average customer rating:

A real musical treasure!
Desert Island Mozart
Haskil's Mozart Shines

Mozart: Piano Concertos No 19 & 27 / Haskil, Fricsay

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Mozart: Piano Concertos Nos.13 & 20; Piano Sonata K. 280 [Germany]
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Edwin Fischer: The Legacy of a Great Pianist
Mozart: 4 Sonaten für Klavier und Violine [Australia]

ASIN: B000001GX3
Release Date: 1997-05-13

Tracks:

Concerto For Piano And Orchestra No. 19 In F Major, K. 459: 1. Allegro
Concerto For Piano And Orchestra No. 19 In F Major, K. 459: 2. Allegretto
Concerto For Piano And Orchestra No. 19 In F Major, K. 459: 3. Allegro assai
Concerto For Piano And Orchestra No. 27 KV 595 In B Flat Major: 1. Allegro
Concerto For Piano And Orchestra No. 27 KV 595 In B Flat Major: 2. Larghetto
Concerto For Piano And Orchestra No. 27 KV 595 In B Flat Major: 3. Allegro
Piano Sonata In F Major, K. 280 (189e): 1. Allegro assai
Piano Sonata In F Major, K. 280 (189e): 2. Adagio
Piano Sonata In F Major, K. 280 (189e): 3. Presto

Amazon.com

Clara Haskil, who died in 1960, was a connoisseur's pianist. She specialized in the Classical era and rarely played showpieces. Her relatively few recordings are still treasured by collectors. These two Mozart Concerti, seconded by a fine conductor, are so subtly played they sound almost dull at first; they certainly aren't recommended to people who like their Mozart boisterous. Listened to with respect, the performances--and the music--gradually reveal their secrets. The Sonata, recorded in stereo, is beautifully performed and more vivid in sound. --Leslie Gerber

Customer Reviews:

A real musical treasure!.......2005-03-07

Clara Haskil was an extraordinary artist. She represents Mozart spirit per excellence. Her nuance, rapture and absolute domain of the Mozartian language is more than obvious when you listen very carefully every one of her different interpretations. In the case of the Concert No. 19 , a minor Concert in the universe of Mozart's Giants Piano Concertos, she extracts all the possible essence , giving to this Rhapsodic Concert the Operatic character so well accented in the last movement. But realize as she elevates this Andante to unimaginable levels.

Despite the fact she played some Mozart piano Concertos with Markevitch, she established with Ferenc Fricsay an invisible and evident rapport you miss in Igor.

Honesty, conviction and above all a profound devotion for Mozart is something you can not dissimulate , you have or not , but you never can mask behind the stage.
In the case of this Concert 27, one of my eternal favorites Concerts by its wholeness , so well written, with such expressiveness, warmth and joy of living character is a real tramp for most of the interpreters. Mozart looks beyond its own time and seems to be thinking in another universe, light years ahead your colleagues. The First Movement is real jewel . full of that apparent sweetness surrounded of majesty, serene eloquence and perpetual mystery. The bars fall with the precise intonation, she emphasizes with such dynamism every note , her pianissimos, mezzo fortes and fortes are never out of place. She seemed to know so well the Mozartian spirit as such a few number of pianists in the story. Listen her cadenza played with rapture, delicacy and energy.

When you listen to the Andante you are immediately carried to another level , it looks like exaggerate but try with her. The slender arpeggios and the brightness of her phrasing is simply overwhelming and admirable. Fricsay accompanies her with perfect results. The music breaths with such elegance and conviction without later effects. She drowns in these waters with that accuracy certainness, and purity that it results for you almost impossible not feeling it. When she makes the repeats of the first motive , she makes a slender rubato employing the pedal with velvet tenderness.

Finally in the Third movement , Fricsay, Haskill and the whole orchestra display their best gifts. The invisible chemistry between all the members make of this so operatic introduction flows with discrete steps. They keep the austere atmosphere from the first bars, maintaining a slow tempo that progressively grows in intensity, never forced and the grace and humor never shades the hidden Ace of despair behind the apparent and radiant spirit of the principal theme announced by the piano. In the second theme the anguish empowers of the piano, the dialogue with the Orchestra keeps going and the piano gives the answer and the orchestra accompanies to this conclusion in which the short cadenza appears resuming both themes. Haskill attacks the melody and revitalizes the joyful motive with minor intensity than before, and the surprise appears when the piano and the Orchestra join again making an Imperial Farewell.

The Sonata is magnificent played with that touch of class slenderness The adagio is simply outstanding. Her fingers create and recreate at the same time she plays. That is the real difference between Haskil and the rest of the interpreters.

This a legendary and supreme recording that it's almost an imperative for you to have it.

Desert Island Mozart.......2003-05-04

This is an absolutely delightful recording, one that a listener wouldn't hesitate to take it with him or her to a desert-island. Clara Haskil, one of the handful of truly great artists of the 20th century, captures the spirit of the composer as no one else does. Moreover, in Fricsay, she finds a perfectly sympathetic partner completely in one with her in reaching to the heart of the music. More sublime music making than this is really difficult to imagine. Buy this disc and you will have a life-long companion that warms the heart and soothes the soul.

Haskil's Mozart Shines.......2000-10-20

This is a wonderful CD of Mozart's piano music by Clara Haskil, with the Berlin Philharmonic under the direction of Ferenc Fricsay. Haskil tackles the 19th Concerto, one of Mozart's greatest, with glowing results, and Mozart's final 27th concerto is also captured beautifully, and in particular the mood of the finale. The recordings of the two piano concertos are both in mono, but they sound magnificent. The final piece, Piano Sonata K280, is a stereo recording from 1960, and it was Haskil's final session for DG. (She died six months later as a result of a fall at the Brussels-Midi railway station.) As the editorial review states, Clara Haskil may have been a connoisseur's pianist, but let me tell you, I'm no connoisseur (though I aspire to be) and I love this disc.

Average customer rating:

An Excellent Pairing of Mozart Concerti
excellent recording
And I don't really like Mozart that much
Exploring the Mozart Piano Concertos -- Nos. 19 and 27
I love it when this happens.

Mozart: Piano Concertos
Richard Goode
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B00004TZB6
Release Date: 2000-07-11

Amazon.com

Listen casually to this disc and it almost seems as though nothing is happening; the music unfolds so naturally. There are no "events," no displays of personality, just plain Mozart. Listen very carefully and you begin to notice a wealth of nuance and expression, qualities that will reveal themselves more thoroughly the longer you listen. Goode has absorbed this music so completely that he just plays, making it all sound simple. His style is similar to that of the admirable Mitsuko Uchida, whose complete series of Mozart Concertos is currently the preferred choice. But Goode has an advantage over Uchida here in the absence of a conductor. The English Chamber Orchestra under Jeffrey Tate does a splendid job of reflecting the conductor's interpretation. But in taking complete responsibility for their own parts, the members of Orpheus interact even more strongly with the soloist and with each other, resulting in the most vivid projection of the many small solos you are ever likely to hear. This recording sat "in the can" for four years after it was made; its release now is cause for rejoicing. --Leslie Gerber

Customer Reviews:

An Excellent Pairing of Mozart Concerti.......2006-02-25

Richard Goode never fails to be sensitive and honest in his approach to works he either performs solo, or in collaboration with a singer, or with an orchestra. He never goes for the broad audience pleasing stance, but rather submerges his ego in the beauty of the music he serves.

Another aspect of Goode's intelligence is in his selection of works to place on the same CD. For this splendid recording with the Orpheus Chamber Orchestra he offers the very well known Piano Concerto 27 (Mozart's farewell work in this genre) along with the lesser well known but equally stunning Concerto 19. His touch is ephemeral, his concepts of the different works is completely well thought, and his balance with the Orpheus ensemble is magic. This is Mozart of refinement and understatement and the result is some of the most beautiful playing we're likely to hear. Superb Mozart for nearly everyone's tastes. Grady Harp, February 06

excellent recording.......2005-10-21

This is a very satisfying version of these two excellent concertos. I have heard a couple of other versions and feel this holds its own with them. I think Goode's piano work holds its own with Brendel for instance. The orchestra is luminously recorded and the playing is fine. Recommended.

And I don't really like Mozart that much.......2005-06-26

At least, I certainly prefer his operas and masses to his instrumental pieces.
But this is just a superb recording (as is his of 17/23). His techniques is flawless, the notes just jump out at you. Sensitive playing, full of life and excitement. Made a believer out of me.
Terrific disc.

Exploring the Mozart Piano Concertos -- Nos. 19 and 27.......2004-10-25

I have been listening over the past few months to several of the Mozart concertos performed by various artists. I recently was fortunate to hear this recording of Mozart's 19th and 27th piano concertos performed by pianist Richard Goode and the Orpheus Chamber Orchestra. This ensemble performs with grace, precision, and beauty, but without a conductor. The recording dates from 1996, but it wasn't released until 2000.

The two concertos on this CD are both scored for strings, flute, oboe,horn, and bassoon, but otherwise they make a good study in contrast. Mozart composed his concerto in F major, K. 459 in December, 1784 and performed it as a soloist on several occasions. This is a joyous, optimistic work full of movement. It fuses the galant elements of 18th century music with "learned" elements derived from earlier baroque counterpoint. In his 1948 study, "Mozart and his Piano Concertos", Cuthbert Girdlestone said of this concerto that "it sings [confidence and happiness] in "the highest degree and never more in his work shall we hear so whole-hearted a joy so ingenuously expressed." (p. 280)

Mozart's concerto in B-flat major, K. 595 was written in 1791, the last year of Mozart's life, following two years of great suffering and difficulty for the composer. It is the last of Mozart's piano concertos and, as does much of Mozart's last music, has a resigned, bittersweet, otherwordly quality. Again, to quote Girdlestone, "This concerto is the finest and fullest of those works to which we applied the perhaps unjust term 'wilting'....The intimate nature of its feeling makes almost chamber music of it and renders it unsuitable for performance in a large concert hall; its proper environment is a circle of lovers of music and of Mozart, gathered in the house of one of them." (p. 471) This is a work of quiet intimacy and reflection rather than brilliance.

Both works are beautifully played on this CD by Goode and the Orpheus Chamber Orchestra. The tempos are well taken, and the collaboration between soloist and ensemble is excellent. The wind parts, which are essential to the Mozart concertos, come through well.

The opening movement of the concerto in F Major, K 459, features a lively, rhythmic theme that dominates both the orchestral and the solo writing. Some listeners hear this music as a march and others hear it as a dance. (I think it is too light and flowing for a march.) Listen for the many ways in which the theme appears and for the interplay between the piano and the winds. The second movement is marked allegretto -- it is one of the few Mozart concertos without a slow movement. The movement is taken nicely on this recording with a lilt and a flow. This is a graceful movement without solemnity even though it includes a brief interlude in the minor key. There is a beautiful figure for the solo piano near the end of the movement. The third movement is a rondo which combines, as I suggested earlier, elements of the galant 18th century style with learned counterpoint. The movement opens with a long passage for orchestra and the piano spends much of the movement embroidering themes around the orchestra and orchestral soloists. Passages of harmonic writing alternate beautifully with passages of counterpoint in a manner that Mozart would later develop in the finale of the "Jupiter" symphony.

The opening movement of the B-flat major concerto, K. 595, opens with a bar of a rocking accompaniment figure followed by a bittersweet, resigned theme interupted at several points by the winds. There is a complimentary, sighing secondary theme. The highlight of this movement lies in its development section in which phrases from the opening of the movement are expanded upon and tossed back and forth among the piano and various components of the orchestra, again particularly the winds. The second movement is a larghetto, opened by the piano with a sad, melancholy, and resigned theme, again not taken overly slowly. The piano has a parlando -- a speaking -- part which is eloquent and reflective as it plays in combination with the flute and other wind soloists. The third movement is a rondo which utilizes a lilting theme that Mozart used in a song called "Yearning after spring") ("Sehnsucht nach dem Fruhlinge") that he wrote at the same time as this concerto. This movement continues the reflective character of the earlier movement with some outbursts of chordal passages in the piano.

This is an excellent CD for the listener wishing to explore two contrasting masterpieces among Mozart's piano concertos.

I love it when this happens........2002-02-08

I'm a novice. My world has been immensely enriched in the last two years by my collecting and listening to all sorts of classical and romantic music. The Mozart piano concertos are just totally knocking my socks off: the variety of emotion presented at such a high level of quality is so remarkable. I have listened to performances by Alfred Brendel, Alicia de Larrocha and Robert Casedesus only so my review might not have that much value to the more experienced. That being said, these are very satisfying recordings. The .... reviewer is absolutely correct about the natural unfolding of the music and the high level of interaction. Another quality is that it sounds like nobody is aware either that this music came from any "period" or that it is "the great" Mozart. More like someone showed them the music and they said "wow this is really good! Let's play it."

Average customer rating:

Another one of those hidden bargains

Mozart: Piano Concertos 17, 19, 21 & 25

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000632G
Release Date: 1998-05-05

Tracks:

Piano Concerto No. 21 in C major - K.467: I Allegro maetoso
Piano Concerto No. 21 in C major - K.467: II Andante
Piano Concerto No. 21 in C major - K.467: Allegro vivace assai
Piano Concerto No. 25 in C major - K. 503: I Allegro maetoso
Piano Concerto No. 25 in C major - K. 503: II Andante
Piano Concerto No. 25 in C major - K. 503: III Allegretto
Adagio in B minor - K. 540: Adagio

Tracks:

Piano Concerto No. 17 in G Major - K. 453: I Allegro
Piano Concerto No. 17 in G Major - K. 453: II Andante
Piano Concerto No. 17 in G Major - K. 453: III Allegretto
Piano Concerto No. 19 in F major - K. 459: I Allegro
Piano Concerto No. 19 in F major - K. 459: II Allegretto
Piano Concerto No. 19 in F major - K. 459: III Allegretto assai
Fantasia in D minor - K. 397: Fantasia in D minor

Customer Reviews:

Another one of those hidden bargains.......2002-06-19

This two-CD set is an incredible deal, combining polished performances with a relatively low price tag. The Ambache Chamber Orchestra (an ensemble I'd never heard of before) shines as its members give performances that amazingly have both a light, "Mozartean" sound and appropriate tautness and power. They provide an excellent backdrop for the worthy playing of Diana Ambache, who (although also relatively unknown) plays through these concertos with a nimble dexterity that leaves no room for mistakes. An added bonus is her solo performances of the Fantasia K. 397 and Adagio K. 540, works that display a completely different side of Mozart--mellow, somber, almost morbid. These pieces make a fantastic juxtaposition with the concertos that take up most of these CDs, and Ambache evidently realizes this, altering her tone and style to fit the mood of each piece. In fact, when the orchestra players are involved, they do this too, subtly changing their approach to each movement. The only quirk I can find with this CD set is the orchestra's tendency to rush ever so slightly in certain parts of the concertos, most notably on descending arpeggios. However, rather than detracting from the overall effect, this serves to heighten it, as the slight rushing provides a reminder of the obvious fun the orchestra and Ambache are having while playing each piece. In short, this CD set was obviously recorded by people who both love music and are extremely adept at playing it. The music contained on these two CDs sounds like music found on much higher-brow, higher-priced CD sets, and it's available for a bargain value. Any Mozart fan (or any classical piano fan in general) shouldn't let this one get away.

Mozart: The Piano Concertos; Rondos, K.382 & 386

Average customer rating:

Uchida versus Perahia in the Mozart concertos
The Finest Mozart Piano Concerto Cycle Ever Recorded!I
The artistic straightness!
Glad I bought this!
Mid-Price steal

Mozart: The Piano Concertos; Rondos, K.382 & 386

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
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Gramophone Classical Good CD & DVD Guide 2006 (Classical Good CD and DVD Guide) (Classical Good CD and DVD Guide)

ASIN: B00005I44H
Release Date: 2001-10-29

Tracks:

Concerto No. 1 In F Major For Piano And Orchestra, K. 37
Concerto No. 2 In B-Flat Major For Piano And Orchestra, K. 39
Concerto No. 3 In D Major For Piano And Orchestra, K. 40
Concerto No. 4 In G Major For Piano And Orchestra, K. 41
Concerto No. 5 For Piano And Orchestra, K. 175
Concerto No. 6 In B-Flat Major For Piano And Orchestra, K. 238
Concerto No. 8 In C Major For Piano And Orchestra, K. 246
Concerto No. 9 In E-Flat Major For Piano And Orchestra, K. 271
Concerto No. 11 In F Major For Piano And Orchestra, K. 413
Concerto No. 12 In A Major For Piano And Orchestra, K. 414
Concerto No. 13 In C Major For Piano And Orchestra, K. 415
Concerto No. 14 In E-Flat Major For Piano And Orchestra, K. 449
Concerto No. 15 In B-Flat Major For Piano And Orchestra, K. 450
Concerto No. 16 In D Major For Piano And Orchestra, K. 451
Concerto No. 17 In G Major For Piano And Orchestra, K. 453
Concerto No. 18 In B-Flat Major For Piano And Orchestra, K. 456
Concerto No. 19 In F Major For Piano And Orchestra, K. 459
Concerto No. 20 In D Minor For Piano And Orchestra, K. 466
Concerto No. 21 In C Major For Piano And Orchestra, K.467
Concerto No. 22 In E-Flat Major For Piano And Orchestra, K. 482
Concerto No. 23 In A Major For Piano And Orchestra, K. 488
Piano Concerto No. 9 In E Flat Major, Kv 271 -Jeune Homme-- 1. Allegro
Piano Concerto No. 9 In E Flat Major, Kv 271 -Jeune Homme-- 2. Andantino
Piano Concerto No. 9 In E Flat Major, Kv 271 -Jeune Homme-- 3. Rondeau - Presto
Concerto No. 27 In B-Flat Major For Piano And Orchestra, K. 595
Rondo In D Major For Piano And Orchestra, K. 382

Album Details

Box Set of Perahia's Critically Acclaimed Cycle of the Great Mozart Piano Concertos Brings You the Entire Cycle in One Convenient and Pleasurable Box.

Customer Reviews:

Uchida versus Perahia in the Mozart concertos.......2006-03-19

Murray Perahia was quite a young man when he started his cycle as both pianist and conductor in the Mozart concertos. He was followed by another superb Mozartean, Mitsuko Uchida, whose cycle on Philips features the same English Chamber Orchestra, so I thought it might be worthwhile to compare the two.

Perahia: Perahia is a thougtful, non-virtuosic, and highly musical pianist. He was at his most extroverted in these works, thereby escaping any tendency to make Mozart sound precious or dainty. Although he had never conducted a recording before, he also proved a vigorous leader from the keyboard (not exceeding Bernstein in this dual role, but Bernstein only made a handful of concerto recordings). The orchestral accompaniments are vivacious, if a bit straightforward. Perahia saves his musical insights for the keyboard in large part, and here he excels. His interpretations are flawless, full of invention. The recorded sound, especially in early installments, can be rough, however, resulting in a somewhat shallow, bright, and brittle piano. As listed here at Amazon there is an enormous price difference (2-to-1 or more) between this 12-disc set and Uchida's 9-disc one, but at other retailers and on the used market both can be bought very cheaply.

Uchida: From the rapturous reviews below, you would think Perahia has no rivals in this music. He does, of course, in Clifford Curzon, Clara Haskil, Rudolf Serkin (though not the late, enfeebled recordings on DG), and Uchida herself, to mention only a few. Uchida first made her mark by recording the complete Mozart sonatas. Here she is joined by a talented ocnductor, Jeffrey Tate, who may be a deciding factor for some buyers since his accompaniments are more polished and detailed than Perahia's. Philips also gives the ECO and the piano better sound, with more warmth and depth than we hear from Perahia. As an itnerpreter, Uchida is more studied--her phrasing can be affected compared to Perahia's--but in general she is to the manner born. This is immpeccable playing, and her ability to shape a lyrical phrase bows to no one. Uchida's complete cycle sells for under $65 at Amazon and much cheaper than that on the used market.

I found while collecting these great works that both Uchida and Perahia were completely satisfying--modern and fresh without resorting to period-performance mannerisms--and on any given day I liked one as much as the other. However, the advantage of having a good conductor and better sound is undeniably in Uchida's favor, while Perahia's more natural, extroverted style gives him an advantage. We are fortunate to have two compellling cycles at mid-price.

The Finest Mozart Piano Concerto Cycle Ever Recorded!I.......2006-01-29

I have written reviews as far ago as ten years about this cycle and my opinion has not wavered. This is one of Gramophone Magazine's 100 greatest recordings of all time and deservedly so. The concertos are my favorite mozart works and I have literally heard all major recordings of these works. Nothing compares. I wanted to let everyone know that this cycle will be re-issued in 2006 for the Mozart 250th birthday celebration with additional material included. This particular issue contains no booklet and the new release will be far more comprehensive. These works have been in my cd player regularly since they were first released and even before that on LP. The concertos were intended to be conducted by the pianist with a chamber orchestra as here. The English Chamber Orchestra is well up to the task and in my opinion one of the premiere Mozart bands in the world along with Sir Neville Marriner and the Academy. This is an issue to be treasured. Enjoy!

The artistic straightness! .......2005-12-20

Murray Perahia's musical integrity is unquestionable. Every time you listen this admirable pianist you feel the astonishing clarity of his impeccable phrasing as the final result of a conviction, a long journey that began in his soul and finished in his hands.

There are just a few pianists in the world who still maintain a musical thought (that has became an authentic rareness) far beyond the astonishing technique and refinement. Perahia playing is ambitious; that 's why he sounds so interesting and ever challenging the traditional canons.

In 2006 I really hope Perahia will record again Mozart 's Complete Piano works. So keep in mind this formidable artist of the piano.

Glad I bought this!.......2005-08-05

I am relatively new at buying classical music, so I really appreciate these reviews. It was through these, in fact, that I first discovered Murray Perahia, and I LOVE his piano playing. His interpretation is just right to me; while being technically perfect, he imparts just the right emotion--without ever going overboard or sounding mechanical. His playing sounds so light, so flawless--he makes it seem easy. You can feel the joy he has in performing these pieces. I love them all, and I was thrilled to add considerably to my meager collection at a price I could afford. I also strongly recommend "Murray Perahia Bach Keyboard Concertos Nos. 1,2 &4" and "Murray Perahia Bach Keyboard Concertos Nos. 3,5,6,7."

Mid-Price steal.......2004-06-18

At full price this set of Mozart Concertos was arguably the top choice available (penguin guide giving the set its highest rating) This current re-issue at mid-price is an absolute steal. Some may have reservations regarding the removal of program notes, but in truth these are rarely if ever read and are therefore unncessary anyway. Besides, one can access a vast amount of information about these concertos in books or off the Internet if required.

In my oppinion this is the most credible set of Mozart piano concertos available and should form a firm place in every classical music lovers collection.

Track Listings:

Track Listings

track listings

Track Listings

Ennismore [Original recording remastered] [Import]

Gluck: Opera Arias [Import]

Lightnin' and the Blues: The Herald Sessions [Original recording remastered]

Flute & Harp Concerti

Humble Beginnings [Box set] [Extra tracks] [Import]

Jazz Impromptu, Vol. 2

Here I Go Impossible Again [EP] [CD-single]

Feliz Dia Papa

Duelo de Titanes Sonideros

Legendary Masters Series

Direct