While scale in itself is in no ways a determinant of inherent musical qualities, increase of duration tends to typify gravitas of ambition and vastness of conception. Likewise, while the likes of Pires create inter-movement contrasts by slowing down the tempo significantly for the second movement Andante Cantabile compared to the athletic first movement, Youn, as if to demonstrate continuity, avoids such obvious transformation.
Missers Brendel and Marriner accomplish this task well.
Happy listening to one of God's geniuses, and God Bless you and your families, as always, Tony. The program concludes with the Piano Concerto No.
The early concertos are all just fine, though no one should be buying anything for these slight pieces alone. The Mozart, Concerto no. Similar traits reside in the D major K. As a result, they miraculously enrich each other, and that is when Mozart is at his best.
This box is a must for anyone who loves the piano. The concerto 24 in c-minor is the finest work on this low-priced Philips cd and is even more stormy than the concerto Although it is considerably less formidable than the concertos that surround it on the disc, it provides its own pleasures, being tranquil and serene in a rustic sort of way.
This serenade has seven movements, is nearly one hour long, and was truly the highlight of the evening. So, while these performances are never going to reach the status of mainstream recommendation, they are not without merit, though that merit is not boosted by the churchy, over-reverberant acoustic.
A Allegro wraps this up with an additional 1: Unchanged was the fact that very little in Haffner is designed to reward an attentive listener; after all, very few people would take care to listen to the internal themes and overall structure of the music played over a fancy dinner.
I can't think of a better one that this release. By the time we reach the fifth part, Romance, the central section fully inhabits the minor key, with all the elements falling into place. Even so, the Goldberg account feels more like her. Marriner keeps the orchestra quiet all along so as to not disturb the mood, which is both restive and whimsical.
Pay no attention to the fact that these works were taped nearly 40 years ago, the sound is just fine, and the booklet, like most from Philips is more than adequate. Argerich is a splendid Mozart player, a rarity for a musician who has studiously avoided Mozart.
The first piece of the evening, the Haffner Symphony, started its life not as a symphony, but rather as a serenade: The less-significant concertos like 13, for example are a touch straight-laced. In the Allegros, the music acquires an ebullience of momentous flow.Pollini's Deutsche Grammophon output has been all over the label's numerous lines and reissue programs.
Hence the most valuable part of this "original jacket" package might just be the two final Mozart discs, which took forever to reach the domestic market and are fine testaments to the pianist's Mozart credentials.
Concert Review On April 8th I attended the "Music for Piano" concert featuring Bette Coulson and Philip Seward at the Columbia College Concert Hall.
The show was only about an hour. Mr. Seward and Mrs. Coulson played five pieces together and then each play on solo. The current disc represents Oehms Classics’ continuing project recording Mozart’s piano sonatas with the Korean pianist William Youn.
Previously, Youn enjoyed a span of successes in three recordings of Mozart’s piano sonatas with the same record label. The Mozart, Concerto no. 18 in B flat K. dates from the miracle year of that saw the outpouring of a stream of great piano concertos. This performance from finds the usually stolid Eugen Jochum in a perky mood, and the sound, although a bit thinner than the Beethoven, is.
But there’s also a different Mozart, the one who wrote G-minor symphonies No. 25 and 40, Piano Concerto No. 20, and the A-minor and C-minor piano sonatas: all tremendously expressive and turbulent works, full of dissonances, sudden key changes, and the general air of malevolent fate.
The set begins with the Piano Concerto No. 17 in G major, K, which Mozart wrote in along with five others. The Concerto is lyrical and playful, with a much lighter feel than its companion piece on the disc, No. 22, written just the next year but sounding far weightier and more dramatic.Download