Mozart Piano Concerti 20 25
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Audio CD, Audiobook, CD, 4 March 2014
The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart.
The legendary pianist and conductor add the sublime music of Mozart to their unrivaled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.
Both concertos were recorded with Claudio Abbado s Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching for new superlatives.
The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart s Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni.
With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786.
This release is Martha Argerich s first recording of solo concertos by Mozart on Deutsche Grammophon.
- Is Discontinued By Manufacturer : No
- Product dimensions : 14.5 x 12.6 x 0.99 cm; 100.07 Grams
- Manufacturer : DEUTSCHE GRAMMOPHON
- Item Model Number : 028947910336
- Original Release Date : 2014
- Label : DEUTSCHE GRAMMOPHON
- ASIN : B00HBS2BTW
- Number of discs : 1
- Customer Reviews:
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I shall consequently confine the argument to two elements namely Martha Argerich's divine rendition and the quality of the sound which is truly amazing.
I was always an Argerich enthusiast but in the past certain people could still detect flaws. As an example I can cite her Rachmaninoff 3 with Ricardo Chailly conducting in which the reservation was that she imposed her personality on the character of the music. Though even in retrospect I do not agree , still in retrospect I can see their point.
But I challenge anybody to detect even a suspicion of flaw in her rendition of these drastically different in character piano concertos. In this regard the liner note reads 'with its majestic radiant, chordal opening, the C major Piano Concerto K 503 of December 1786 introduces us to a world of expression that could hardly be more different from that of the deadly rebellious D minor Concerto K 466 of February 1785.' Her rendition though retaining her vitality and acuity, and impressive flow still fully respects the thematic and chromatic variations of the two concertos.
The phenomenal pianist, Martha Argerich in her full maturity attains consummation.
As for the D minor concerto, it has all the qualities of a sombre baritone deep in questing thought; delicious! This is dark chocolate music. The scherzo passage in the slow movement may not bite as much as in some recordings but it is all of a piece with the rest of the performance. As for the final few bars with that witty little trumpet riff in the major, it brings out the sunshine as it always should.
Now that Abbado is no longer with us, this is a treasure that I hope will never be out of the catalogue.