Ecmkeith Jarrett W.a Piano Concertos

Keith Jarrett - W.A. Mozart: Piano Concertos K.271, 453, 466. Adagio and Fugue K.546 (1999) [2CD] {ECM New Series 1624/25}
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© 1999 ECM Records | 449 670-2 / ECM 1624/25
Classical / Piano

Jarrett brings to his Mozart repertoire steadiness of interpretation and relaxation that may surprise listeners who know him mainly for the adventurousness and quirks of his celebrated marathon solo recordings. A jazz pianist performing classical music might be expected to take rubato liberties. Jarrett does not. His reading of the magnificent pre-Romantic D-minor concerto No. 20, K. 466, employs effective dynamics without extremes in the direction of Arthur Rubenstein's daring and exuberance in the rondo, Mitsuko Uchida's mystique behind the beat in the romance movement or Clara Haskil's blurred articulation at the piano entry in the allegro.

W. A. Mozart: Concertos for Piano and Orchestra No. 17 K. 453; No. 20 K. 466; No. 21 K. 467; No. 23 K. 488; No. 24 K. 49 -
Artur Rubinstein, piano; RCA Victor Symphony Orchestra; Alfred Wallenstein and Josef Krips, conductors
Classical | 2 CDs | EAC V0.99 prebeta 3 Rip | 720 Mb | FLAC+LOG+M3U No cue | Full scans | RapidShare links
Publisher: RCA/BMG

Editorial Reviews
Amazon.com
It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright–he refuses to sentimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking–a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488–what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues.
–Dan Davis

Keith Jarrett - Mozart - Piano Concertos I (1996) {2CD Set ECM New Series 1565/66}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 547 Mb | MP3 @320 -> 311 Mb
Full Artwork @ 300 dpi (jpg) -> 43 Mb | 5% repair rar
© 1996 ECM Records | ECM New Series | 1565/66
Classical / Concerto / Piano

The German label ECM offers some provoking thoughts on Mozart's music, especially his piano concertos, on a double album featuring pianist Keith Jarrett, with the Stuttgart Chamber Orchestra conducted by Dennis Russell Davies. I almost said "jazz pianist" Keith Jarrett, for that is what he was invariably called for years until he began to explore the classics out in the open. His best-known previous classical recording was Bach's Goldberg Variations in which he exhibited some similarities to the legendary Glenn Gould in terms of digital clarity and freedom of expression. Critics were divided over whether this was a welcome return to a style once considered utterly unique, or a reprehensible form of imitation.

Keith Jarrett - Mozart - Piano Concertos II (1999) {2CD Set, ECM New Series 1624/25}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 423 Mb | MP3 @320 -> 246 Mb
Full Artwork @ 300 dpi (jpg) -> 33 Mb | 5% repair rar
© 1999 ECM Records | ECM New Series | 1624/25
Classical / Concerto / Piano

Jarrett brings to his Mozart repertoire steadiness of interpretation and relaxation that may surprise listeners who know him mainly for the adventurousness and quirks of his celebrated marathon solo recordings. A jazz pianist performing classical music might be expected to take rubato liberties. Jarrett does not. His reading of the magnificent pre-Romantic D-minor concerto No. 20, K. 466, employs effective dynamics without extremes in the direction of Arthur Rubenstein's daring and exuberance in the rondo, Mitsuko Uchida's mystique behind the beat in the romance movement or Clara Haskil's blurred articulation at the piano entry in the allegro.

Volume 11 of the 'Next Generation Mozart Soloists' series presents Violin Concerto No. 5 in A Major along with Piano Concertos KV 40 and KV 449. The Piano Concerto No. 3 is a very early work, derived from works by other composers, whereas No. 14 was written in 1784 by a fully mature Mozart, who was moving away from functional music towards expressing his ideas in a more dramatic structure. What links the two, says Swiss-Canadian pianist Teo Gheorghiu, is that they are both "concertos mainly joyful and optimistic in expression". French violinist David Castro-Balbi says "of Mozart’s violin concertos, No. 5 has the strongest operatic character". These two soloists are accompanied by the Mozarteumorchester Salzburg under the baton of Howard Griffiths.

Volume 11 of the 'Next Generation Mozart Soloists' series presents Violin Concerto No. 5 in A Major along with Piano Concertos KV 40 and KV 449. The Piano Concerto No. 3 is a very early work, derived from works by other composers, whereas No. 14 was written in 1784 by a fully mature Mozart, who was moving away from functional music towards expressing his ideas in a more dramatic structure. What links the two, says Swiss-Canadian pianist Teo Gheorghiu, is that they are both "concertos mainly joyful and optimistic in expression". French violinist David Castro-Balbi says "of Mozart’s violin concertos, No. 5 has the strongest operatic character". These two soloists are accompanied by the Mozarteumorchester Salzburg under the baton of Howard Griffiths.