The present recording of the Piano Concertos KV 466 & 467 is the starting point for the complete collection of Mozart piano concertos to be issued by the label Accent. Arthur Schoonderwoerd, in great demand as a hammerklavier performer, and his ensemble Cristofori play on authentic instruments of the period or modern reproductions. The string parts in the orchestral accompaniment are played by only one musician per part, producing a slender, transparent tone which supports the hammerklavier without ever dominating its fine tone.
Clifford Curzon was among the finest English pianists of the twentieth century, known for his clear, ego-less performances of the German Classical and Romantic masterpieces. A quiet intellectual who nevertheless possessed a formidable technique, Curzon played everything from Mozart to Liszt with equal authority. His fans often cite this ability to emphasize the personality of each composer, rather than his own, as his most distinctive quality. Curzon recorded for the Decca label for over 30 years, leaving behind a modestly sized, but musically impressive catalog. His recordings of Mozart and Schubert are considered his best.
Midem Classique Award winner Christian Zacharias continues his survey of Mozart Piano Concertos as both performer & conductor. Featuring arguably 1 of the most famous, the A Major. MDG’s complete recording of Mozart’s piano compositions with Christian Zacharias in the double role as pianist & conductor of the Lausanne Chamber Orchestra continues with KV 488, certainly the most-performed piano concerto by the great Salzburg composer, complemented here by KV 246 & KV 175, Mozart’s very 1st piano concerto.
Six piano concertos in a mere twelve months: in no other year was Mozart as productive in this genre as he was in 1784. Christian Zacharias and his Lausanne Chamber Orchestra have taken considerably more time with their interpretations of Mozart’s piano concertos – and with sensational results. This complete recording even now promises to occupy one of the top ranks on international lists: Zacharias is able perfectly and seamlessly to transfer his inimitable touch and sound culture to the orchestra.
The sixth disc in this highly acclaimed series combine two works in which Mozart's powers as an orchestrator come to the fore. Concerto No. 18 in B flat major, K 456, is sometimes referred to as one of the composers military concertos on the basis of the march-like main theme of the first movement. But more striking is the variety of ways that Mozart employs the various groups of instruments: strings, wind instruments and, of course, the piano. This aspect certainly didn't pass unnoticed by a listener as initiated as Mozart's father Leopold: in a letter to his daughter Nannerl he described how his enjoyment of the orchestral interplay had brought tears to his eyes.
This 9-disc set includes the mature solo piano concertos in performances by Andras Schiff and the Salzburg Camerata Academica under Sandor Vegh. The piano sound is notably more recessed than in other versions, giving more attention to the orchestral half of the musical dialog. Additionally, the Bosendorfer piano used by Schiff produces a sound that will not be confused with a modern Steinway.
Award winning pianist David Fray – named Instrumentalist of the Year in France’s Victoires de la Musique 2010 – retains his focus on Austro-German repertoire with his second CD of concertos for Virgin Classics: Mozart’s Concertos Nos 22 and 25 with London’s Philharmonia Orchestra under Dutch violinist-turned-conductor (and Music Director of the Dallas Symphony), Jaap van Zweden.
The Quartet’s debut recording features master Mozartian Gottlieb Wallisch in a stunning performance of his fellow Austrian’s own rarely-heard chamber orchestrations in ‘Mozart: Piano Concertos Nos. 12, 13 & 14’. In contrast to the orchestral version the ensemble strikingly enhances the intricacies of the string writing and encourages immediate interaction among the five musicians.