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Reviewed as CD and 24-bit download with pdf booklet from eclassical.com. The four keyboard concertos which Mozart wrote on arrival in Vienna in 1782/3 are becoming quite popular, with almost 100 available recordings of K415.
Piano Concerto No.26 in D major, K.537 “Coronation” Piano Concerto No.27 in B ♭ major, K.595; Arrangements of Other Composers: Piano Concerto No.1 in F major, K.37 (Raupach / unknown / Honauer) Piano Concerto No.2 in B ♭ major, K.39 (Raupach / Schobert) Piano Concerto No.3 in D major, K.40 (Honauer / Eckard / CPE Bach)
- Mozart, Wolfgang Amadeus
- Piano Concerto No.2
- K.39
- Composed Under Hypnosis?
- It Starts with Nothing But Piano
- The Bit That Everyone Knows
- It’S Not All About The Second Movement, Though
First things first, let’s look at the state of Sergei Rachmaninovin 1900, when he started composing this towering piano masterpiece. He’d been absolutely pilloried in the press for his Symphony No. 1 a couple of years before and, to put it mildly, he was in a bit of a huff about it. Explore the Ultimate Classic FM Hall of Fame > Rachmaninov would h...
Bold move, chap. Bold move. Then the first movement becomes a storm of different themes, handed around the piano and the rest of the orchestra in a maelstrom of interconnectivity, until the towering ending, a right old clatter in C minor. Here's Simon Trpceski to explain:
Ah yes, the second movement. An epoch of sentimentality, the very apogee of emotion, partly thanks to this film: Here’s what the business end of the draining second movement looks like: It’s also got a fiendish cadenza, like this: Woof etc.
The finale is a beast. There’s plenty of meat to it, but it’s worth just having a little look at the very end, where the speed suddenly lurches out of control and hurtles towards a truly thudding climax. As you can see, it looks like an absolute nightmare: Even Lang Lang’s signature ‘ecstatic backwards flail’ manoeuvre turns out to be impossible un...
piano concerto no. 2 in b-flat major, op. 83 Recording: Alfred Brendel, piano; Berlin Philharmonic, conducted by Claudio Abbado [Philips 432 975-2] Published 1882.
The first of these three pieces is the Concerto for Piano, Wind and Percussion in which the soloist is Maria Bergmann. The performance is notable for its verve and variety and for the subtle restraint of its sustained middle section, in which the composer exploits a pronounced melodic vein.
The first question in reviewing Mozart piano concertos these days is whether one is comparing the new recording to all other available recordings or whether a distinction is to made between those on the fortepiano with period instruments and those on the modern piano with modern accompaniment.
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The minor key – rare in Mozart concertos, though a feature of Haydn’s Sturm und Drang style – makes it sound more profound than its companion, so it’s appropriate that Bavouzet has chosen the Beethoven cadenzas for a work which in many ways anticipates the younger composer’s c-minor Piano Concerto, No.3, then still some years in the ...
