I am sure the sound engineering has played a significant role here — the presence to the piano is ideally felt throughout the pieces. An extensive frequency response features good, clean highs and taut bass; and a mildly reverberant hall acoustic complements the piano and the band, producing a modest glow around the music, which along with the miking contributes, no doubt, to the realistic space and depth we hear on the recording.
What a joy it must be to live in or nearby the city of London, perhaps the musical capital of the planet. To top off a terrific issue, Harmonia Mundi supply the jewel box with a light-cardboard slipcover.
Unchanged was the fact that very little in Haffner is designed to reward an attentive listener; after all, very few people would take care to listen to the internal themes and overall structure of the music played over a fancy dinner.
As one might thus excpect, the third and last movement feels as if it is cut from the same cloth as the preceding movements. For Mozart, it may have seemed a bit too harsh in his day, but it haslong ago, taken it's rightful place near the top of his small quantity of darker ideas.
The concerto for piano and orchestra in d-minor lasts an elegant But, Mozart is ALSO for the common man, like me, and just because it is so exquisite, that doesn't mean it was written for snobs. Certainly, Brendel lacks a particularly beautiful tone, but he is a fine Mozart player all the same.
On the other hand, the D major K. Mozart himself was quite fond of the finale, so fond of it, in fact, he taught his pet starling to sing it. The minuet passage in KV mentioned above is a good case in point, the playing here achieving an affecting delicacy and poise that is most engaging.
Composed in his late teens, youthful vitality is the key word for the B-flat major K. Serkin LP my Uncle Tom, the priest in our family, who was my only music 'Teacher" and my enthusiasm at hearing it.
In contrast to the surrounding presto the finale acquires the character of wistfulness and longing -- while being written in major key. I can't think of a better one that this release.
Missers Brendel and Marriner accomplish this task well. This performance from finds the usually stolid Eugen Jochum in a perky mood, and the sound, although a bit thinner than the Beethoven, is still very good, well up to studio quality.
The set begins with the Piano Concerto No. I would like to concentrate on the B-flat major K. By mid 18th Century standards, this is a stormy and dramatic work and indeed Marriner's intro is rich, dramatic and has just the right amount of Sturm und Drang to make it work perfectly.
This serenade has seven movements, is nearly one hour long, and was truly the highlight of the evening. The finale combines most of the techniques from the rest of the serenade, with the darkness nearly forgotten -- yet still discernible.
The subtle and inspired playing paints the architecture of the works without any hint of self-indulgence.
Listen, for example, to the opening of the central Larghetto of KVmarked sotto voce. The comparison is striking. In more relaxed sections, Youn rarely fails to excavate a sense of elegant contemplation in the score.
She's bold and forceful, with not a hint of tinkly or mincing playing. Both of these concertos, are thought provoking aznd "serious" offerings with the fun Concert Rondo acting as an interlude on this Philips CD. Premiered in Februarywhen the composer was 29 years old, I'm sure he was still a playful young man, having been married to Constance for only about 2 years now.
Morrison that this account of the Beethoven First fromalthough beautifully played by the Bavarian Radio So, and in gorgeous sound, suffers from Ozawa's dull, literal conducting.
These Harmonia Mundi recordings provide vivacious, nontraditional renditions of old favorites, done up in the fine audio I mentioned above. Abbado doesn't clip his phrases like his later readings with Martha Argerich, but soloist and conductor are heard to better effect elsewhere.
Oh well, we still have these permanent records of his mastery, and this is one of the best examples in the catalog. He has, along with Mr. W.A. Mozart - Piano Concertos [7 CD] - sgtraslochi.com Music From The Community. Amazon Try Prime Average Customer Review: out of 5 stars 10 customer reviews Amazon Best Sellers but they are searching and beautiful.
The point here is that music-making never needs to be technically perfect to be communicative, or beautiful, or memorable. /5(10). Review on Mozart Piano Concert Essay Journal IV Music Appreciation Piano Concerto No. 23 in A Major, K. I love Mozart, Beethoven, Bach, Chopin, and. The set begins with the Piano Concerto No.
17 in G major, K, which Mozart wrote in along with five others. The Concerto is lyrical and playful, with a much lighter feel than its companion piece on the disc, No.
22, written just the next year but sounding far weightier and more dramatic. But there’s also a different Mozart, the one who wrote G-minor symphonies No. 25 and 40, Piano Concerto No. 20, and the A-minor and C-minor piano sonatas: all tremendously expressive and turbulent works, full of dissonances, sudden key changes, and the general air of malevolent fate.
Oct 16, · Here he plays the Mozart Piano Concerto K in C major. Wonderful tempos are displayed here as well as fine, well thought out cadenzas. (Rubenstein Int. Piano Competition). Wolfgang Amadeus Mozart, Neville Marriner, Eduard Melkus, Ton Koopman, Academy of St.
Martin in the Fields, Capella Academica Vienna, The Amsterdam Baroque Orchestra, Alfred Brendel, Ingrid Haebler, Imogen Cooper - Mozart: Piano Concertos - sgtraslochi.com Music/5(9).Review on mozart piano concert