Mozart Piano Concerto

Murray Perahia - Mozart: Piano Concerto No. 26, Rondos for Piano & Orchestra (1984)

Murray Perahia - Mozart: Piano Concerto No. 26, Rondos for Piano & Orchestra (1984)
EAC | FLAC (image+.cue, log) | Covers Included | 51:28 | 201 MB
Genre: Classical | Label: CBS Records | Catalog: 39224

Murray Perahia's piano playing, like the great Mozart himself, will never go out of style. (Murray's unfortunate hairstyle on the cover, however, is an entirely different matter!) This is because Perahia's refreshingly direct, straightforward style will always be fashionable. Let the others bang away, speed up the tempo or add all their esoteric flourishes, I'll take Perahia's simplicity any day. On this early digital recording from 1983, the pianist again shines on Mozart's second-to-last Piano Concerto, the 26th, nicknamed the "Coronation" since it was written in honor of King Leopold II's momentous event.
Clifford Curzon - Mozart: Piano Concerto No.27, Schubert: 4 Impromptus & Moment Musical (2013)

Clifford Curzon - Mozart: Piano Concerto No.27, Schubert: 4 Impromptus & Moment Musical (2013)
EAC | FLAC (image+.cue, log) | Covers Included | 57:22 | 183 MB
Genre: Classical | Label: Testament | Catalog: SBT 1486

The performance of the Impromptus, D.899, heard here, confirms Curzon’s place as one of the great Schubert players of his generation. Indeed, the audience was so impressed that they couldn’t help applauding between each Impromptu. Not only does Curzon manage to play with a range of emotion, from limpid tenderness to controlled aggression, but his attention to the sound he produces from the piano never fails to impress.
Clifford Curzon - Mozart: Piano Concertos Nos. 20, 23, 24, 26 & 27 (2002)

Clifford Curzon - Mozart: Piano Concertos Nos. 20, 23, 24, 26 & 27 (2002)
EAC | FLAC (image+.cue, log) | Covers Included | 02:34:12 | 700 MB
Genre: Classical | Label: Decca | Catalog: 468 491-2

This pair of discs brings together five of the legendary Mozart concerto performances, somewhat reluctantly approved of for publication by Curzon. Curzon was at the same time, a recording artist of choice but also a recording nightmare commercially. There are many of his recordings still in the vaults that were made at considerable expense, but which were then refused permission for publication by Curzon for reasons that few would consider essential.
Daniel Hope - Mozart: Piano Concerto No. 16, Concerto for Violin and Piano, Violin Sonata (2005)

Daniel Hope - Mozart: Piano Concerto No. 16, Concerto for Violin and Piano, Violin Sonata (2005)
WEB | FLAC (tracks) - 284 MB | MP3 (CBR 320 kbps) - 179 MB | 01:10:36
Genre: Classical | Label: Warner Music

By combining the 120 extant measures of Mozart's unfinished Concerto in D major for violin and piano, K. App. 56 (K. 315f) with the Sonata in D major for piano and violin, K. 306, composer Philip Wilby has fashioned a performing version that seems reasonably backed by musical evidence, competent in orchestration, and perhaps ingenious enough to meet the approval of some Mozartians. Unfortunately for listeners seeking a major revelation, this reconstruction is short on the felicitous surprises and touching expressions one might find in a fully conceived work by Mozart, and seems a bit ordinary in substance and artificial in development.
Susan Tomes, The Gaudier Ensemble - Mozart: Piano Concertos Nos. 11, 12 & 13 (2009)

Susan Tomes, The Gaudier Ensemble - Mozart: Piano Concertos Nos. 11, 12 & 13 (2009)
EAC | FLAC (image+.cue, log) | Covers Included | 70:39 | 270 MB
Genre: Classical | Label: Hyperion | Catalog: CDH55333

No, not another Mozart piano concerto disc! No indeed, for this pioneering recording gives us intimate, almost domestic versions of three of the composer’s masterpieces, versions that have scarcely been played, let alone set to disc, in the modern concert era. Moreover they give us the opportunity to hear Susan Tomes show her mettle in strong light as concerto soloist—and bring to a wider repertoire the distinct communicative magic that has made her one of the foremost chamber pianists of today.
Karin Kei Nagano, Cecilia String Quartet - Mozart: Piano Concertos Nos. 12 & 13 (2014)

Karin Kei Nagano, Cecilia String Quartet - Mozart: Piano Concertos Nos. 12 & 13 (2014)
EAC | FLAC (image+.cue, log) | Covers Included | 52:12 | 214 MB
Genre: Classical | Label: Analekta | Catalog: AN28765

Mozart did, it's true, "authorize" the performance of some of his piano concertos by piano and string quartet, as the notes to this Analekta release point out. But, as a Vienna freelancer in uncharted territory, he could hardly have done otherwise, and to suggest, from the perspective of 21st century Canada and its social safety net, that this indicates anything about the desirability of such a performance is questionable. Truth to tell, these two concertos from 1782, although their wind parts are not as prominent as those in some of the later ones, still sound a bit bare in their contrasts between solo and tutti here.
Marc Minkowski, Les Musiciens du Louvre - Mozart: Piano Concerto K.488, Violin Concerto K.219 (2016) [Blu-Ray]

Marc Minkowski, Les Musiciens du Louvre - Mozart: Piano Concerto K.488, Violin Concerto K.219 (2016) [Blu-Ray]
BluRay | BDMV | MPEG-2 Video / 23890 kbps / 1080i / 29,970 fps | 57 min | 21,6 Gb
Audio 1: LPCM Audio / 2.0 / 96 kHz / 24-bit | Audio 2: DTS-HD Master Audio / 5.0 / 96 kHz / 6733 kbps / 24-bit
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BluRay-rip1 | MKV 1920x1080 / 4972 kbps / 29,970 fps | 57 min | 4,39 Gb
BluRay-rip1 | MKV 1280x720 / 2762 kbps / 29,970 fps | 57 min | 3,51 Gb
Audio: PCM / 2ch / 48 KHz / 24 bits | DTS / 5ch / 48 KHz / 24 bits
Classical | C MAJOR

Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).
Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 20 & 12 (1982)

Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 20 & 12 (1982)
EAC | FLAC (tracks+.cue, log) | Covers Included | 58:14 | 257 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 400 068-2

This new recording of…the great D minor, K466, made last November with the LSO under Abbado, is immensely welcome. The old magic is still there: the ability to make every semiquaver in a run count: the way he can invest even quite 'innocent' music…with real meaning and character; the pathos and lyricism he brings to the slow movements; and the tension and drama he reveals in the outer movements of K466.
Momo Kodama, Seiji Ozawa, Mito Chamber Orchestra - Hosokawa: Lotus under the moonlight; Mozart: Piano Concerto No.23 (2021)

Momo Kodama, Seiji Ozawa, Mito Chamber Orchestra - Hosokawa: Lotus under the moonlight; Mozart: Piano Concerto No.23 (2021)
EAC | FLAC | Image (Cue & Log) ~ 194 Mb | Total time: 49:21 | Scans included
Classical | Label: ECM Records | # ECM 2624 | Recorded: 2006

Momo Kodama (whose acclaimed album, Point and Line, contrasted Toshio Hosakawa and Claude Debussy) presents the piano concerto which Hosakawa wrote for her, the shimmering "Lotus Under the Moonlight." Composed in 2006, "Lotus" is also an homage to Mozart, with distant echoes of his Concerto No.23 in A Major, the work with which it is paired here in a concert recording from Japan with Maestro Seiji Ozawa and his Mito Chamber Orchestra.
Robert Levin, Academy of Ancient Music, Christopher Hogwood - Mozart: Piano Concertos Nos. 15 & 26 (1987)

Robert Levin, Academy of Ancient Music, Christopher Hogwood - Mozart: Piano Concertos Nos. 15 & 26 (1987)
EAC | FLAC (tracks+.cue, log) | Covers Included | 01:02:07 | 284 MB
Genre: Classical | Label: Decca | Catalog: 452 052-2

Robert Levin plays these works on a restored Walter fortepiano that Mozart owned. This headline feature is both an asset and a limitation. The instrument has its own pronounced personality, which is arresting, when you can hear it. It also has a frailer sound than most of the early pianos or replicas used for concerto recordings, so you can't always hear it clearly. Perhaps this balance was what Mozart's audiences actually heard, but, more likely, if he used a piano like this, he also used a very small orchestra.