Mozart Complete Piano Concertos

Wolfgang Amadeus Mozart - Complete Piano Concertos Vol. 3
English Chamber Orchestra / Daniel Barenboim, Piano & Direction
2xCD | EAC+LOG+CUE | FLAC: 556 MB | Full Artwork | 5% Recovery Info
Label/Cat#: EMI "DRM" # CZS 7 62825 2 | Country/Year: Germany 1989
Genre: Classical | Style: Viennese School, Piano

In the 1960s, while still in his twenties, Daniel Barenboim joined forces with the English Chamber Orchestra to record a groundbreaking set of the complete Mozart Piano Concertos, conducting from the keyboard. Later, he recorded them again with the Berlin Philharmonic, but the English Chamber Orchestra version still has the edge for its bite and beauty, operatic mellifluousness offset by apparently boundless energy and an atmosphere of inspired and intimate music-making from start to finish. Barenboim brings us Mozart in all his many guises, from enfant terrible to founding father and, ultimately, avatar in the term’s original sense.

Wolfgang Amadeus Mozart - Complete Piano Concertos Vol. 2
English Chamber Orchestra / Daniel Barenboim, Piano & Direction
4xCD | EAC+LOG+CUE | FLAC: 1,04 GB | Artwork | 5% Recovery Info
Label/Cat#: EMI "DRM" # CZS 7 62825 2 | Country/Year: Germany 1989
Genre: Classical | Style: Viennese School, Piano

In the 1960s, while still in his twenties, Daniel Barenboim joined forces with the English Chamber Orchestra to record a groundbreaking set of the complete Mozart Piano Concertos, conducting from the keyboard. Later, he recorded them again with the Berlin Philharmonic, but the English Chamber Orchestra version still has the edge for its bite and beauty, operatic mellifluousness offset by apparently boundless energy and an atmosphere of inspired and intimate music-making from start to finish. Barenboim brings us Mozart in all his many guises, from enfant terrible to founding father and, ultimately, avatar in the term’s original sense.

Recorded over 13 years between 1975 and 1988, Murray Perahia's cycle of the complete piano concertos of Mozart, including the concert rondos and double concertos, remains perhaps the most enduring monument to his art. What is it about Perahia's art, some skeptics might ask, that is worth enduring? For one thing, as this 12-disc set amply demonstrates, there is his incredible tone.

Recorded over 13 years between 1975 and 1988, Murray Perahia's cycle of the complete piano concertos of Mozart, including the concert rondos and double concertos, remains perhaps the most enduring monument to his art. What is it about Perahia's art, some skeptics might ask, that is worth enduring? For one thing, as this 12-disc set amply demonstrates, there is his incredible tone. Clear as a bell, bright as the sky, and deep as the ocean, Perahia's tone is not only one of the wonders of the age, it's admirably suited to the pellucid loveliness of Mozart's music.

Perahia’s immaculate technique, stylistic surety, and classical symmetry are remarkably consistent. While his tone is always singing and rounded, lyrical melodies and decorative passages alike convey a slight diamond-like edge to the peak of crescendos or an emphatic accent. This helps achieve an attractive fusion of unruffled poise and dramatic tension. You hear this quite readily in the B-flat K. 456 concerto ‘s first movement, or in the carefully pedaled trills and restatement of the main theme in K. 595’s heavenly Larghetto, also sampled here. Perahia’s symbiotic musical rapport with Radu Lupu in the two-piano concerto and the two-piano version of the concerto for three pianos should not go unmentioned.

– Jed Distler

In history, the beginning of the genre of piano or cembalo concertos is usually associated with the name of Johann Sebastian Bach, whose sons had continued the undertaking which their father had begun. Thus, for example, Mozart was influenced by C.P.E. Bach in his own, further development of the genre, the "classical" character of which would become significantly influenced by him. The source of Haydn's inspiration to write piano concertos, and knowledge of appropriate compositions by his contemporaries, cannot be determined for certain, as we do not have any reliable documentation.