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Thread: Mozart K466

  1. #31
    Senior Member pcnog11's Avatar
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    Quote Originally Posted by pcnog11 View Post
    I do have a question about the 2nd movement. There is a passage during the first part before the change of the tempo and the piano is playing a variation of the first (maybe second) theme. It seems that some soloist is playing a off beat version while others are playing a traditional version. Does anyone notice that? I like the off beat version, great articulation form Jan Lisiecki.
    If you do not what I am referring to, please see 16:18 to 16:57 of the following link:

    https://www.youtube.com/watch?v=7An0PMYmCfI
    "Music is a higher revelation than all wisdom and philosophy." - Ludwig van Beethoven

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  3. #32
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    I'm inspired to do a little comparative listening this weekend. I own Bilson/Gardiner, Curzon/Britten, Anda/CASM. TC never fails to trigger the desire to keep listening and learning. Thanks!

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  5. #33
    Senior Member pcnog11's Avatar
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    Uchida has a similar variation that I was talking about. Very good musical phrasing and articulation. I cannot stand her facial expression....no offense.
    "Music is a higher revelation than all wisdom and philosophy." - Ludwig van Beethoven

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    Senior Member Jos's Avatar
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    I have those four to choose from.
    I enjoy Perahias soft, velvety touch, somewhat romantic; but then, I always enjoy his approach with anything he does.
    The Haskil seems somewhat fierce in comparison.
    Brendel and Haebler are both very good. I enjoyed listening to them all this afternoon, all different and interesting, no bests !

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  8. #35
    Senior Member Pugg's Avatar
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    Quote Originally Posted by Jos View Post

    image uploading site

    I have those four to choose from.
    I enjoy Perahias soft, velvety touch, somewhat romantic; but then, I always enjoy his approach with anything he does.
    The Haskil seems somewhat fierce in comparison.
    Brendel and Haebler are both very good. I enjoyed listening to them all this afternoon, all different and interesting, no bests !
    Must have been a very pleasant afternoon.
    First they ignore you, then they laugh at you, then they fight you, then you win.
    "Mahatma Gandhi"

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  10. #36
    Senior Member AfterHours's Avatar
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    Quote Originally Posted by hpowders View Post
    The performance by Alfred Brendel with the Scottish Chamber Orchestra conducted by Sir Charles Mackerras is good.

    But the most dramatic performance I know that gets to the heart of the music like no other, is the HIP collaboration with Malcolm Bilson, fortepiano and The English Baroque Soloists conducted by John Eliot Gardiner.
    Probably my top two choices right here.

    Right with or just below these two would be Goode/Orpheus, Gulda/Abbado and Schiff/Vegh (in no particular order), each with distinct qualities I wouldn't want to be without.

  11. #37
    Senior Member AfterHours's Avatar
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    Quote Originally Posted by KenOC View Post
    I admit to being very fond of the Mozart piano concertos, at least the most popular ones, played by Richard Goode and the Orpheus Chamber Orchestra. If I could keep only one set of these, they would be a good choice.

    Here's the k.466.

    https://www.amazon.com/Piano-Concert...MQTDTZHMJ0TCS8
    Among my favorite renditions, total class and elegance -- HIP even though not "technically". Love how he articulates the percussion in the 1st movement climaxes.

  12. #38
    Senior Member AfterHours's Avatar
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    Quote Originally Posted by realdealblues View Post
    This is probably my favorite Piano Concerto. I never tire of hearing it. I love literally over a hundred different Piano Concertos but this one just resonates with me on an extra level. I probably have well over 50 different recordings of it.

    If you want really bold and powerful and dramatic I will echo the suggestions of Alfred Brendel but I will go with his later recording with Charles Mackerras and the Scottish Chamber Orchestra rather than his earlier recording with Sir Neville Marriner as I feel he was able to improve on his earlier rendition as well as the wonderful modern engineering captures Charles Mackerras's beautiful accompaniment to an even greater degree than what Marriner was able to give us.


    On the other end of the spectrum Clifford Curzon and Benjamin Britten with the English Chamber Orchestra is amazingly refined and elegant and I would also put it in the must hear category with Brendel.

    Somewhere between Brendel and Curzon I would put Richard Goode with the Orcheus Chamber Orchestra and Rudolf Buchbinder and the Vienna Symphony. Both are excellent and absolutely worth hearing.

    I could probably go on and on. I wouldn't want to be without the lyrical beauty that belongs to Murray Perahia nor would I want to be without Arthur Rubinstein's warm and wonderfully crafted reading with Alfred Wallenstein that most would probably never give a listen to begin with. Andras Schiff with Sandor Vegh, Geza Anda, Christian Zacharias with David Zinman, Rudolf Serkin with George Szell...there's really a lot of wonderful ones out there.

    But for must listens...I would start with Brendel/Mackerras and Curzon/Britten. You can immediately hear the differences and judge for yourself if both styles work for you or if you prefer one style over the other in this work.
    Excellent survey of several of the very best versions!

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  14. #39
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    I don't think I've ever heard a bad recording of this great work. My personal favorite is Goode/Orpheus but I have several others.
    Much has been made of the link between this work and Beethoven's 3rd PC. I was reminded of this again during a concert in Chicago two weeks ago with Mitsuko Uchida as a soloist. I particularly like the way that in the finale of both works at about two thirds in the tragic clouds lift and we are suddenly in the land of sunshine.

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    Saw this wonderful piano concerto performed live recently by

    Leif Ove Andsnes
    Norwegian Chamber Orchestra

    Was wonderfully performed and recently bought it by them!

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  18. #41
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    One of my favorite concertos and I believe it accepts a broader spectrum of interpretations than most of Mozart's concertos.

    The 1st and 3rd movements can accept pre-Romantic interpretations (Beethoven, Clara Schumann and Brahms wrote cadenzas to it, so this interpretation is quite well-established historically). The 2nd mvt. is a Romanze, not a strict indication such as adagio or larghetto, so it leaves a lot of space for the interpreter's ideas...

    If I want a HIP interpretation with fast tempos everywhere I listen to Brautigam, who plays in a copy of a Walter & Sohn fortepiano, circa 1802. The scales in the 3rd mvt. seem much more idiomatic to his fortepiano than to a modern grand.

    If I want a chamber orchestra with beautiful sound on modern instruments I listen to Brendel/Marriner (not only on this concerto but any from #9 to #27).

    If I want a stormy, slow, proto-Romantic K. 466 I listen to Michelangeli (DG, 1989, with Beethoven's cadenzas and the North German sound of NDR-Sinfonieorchester). Not much unlike Michelangeli's is the recording by Argerich/Abbado, it sounds pra-Romantic although with faster tempi and smaller orchestra.

    If you accept older recordings (i.e. pre-1970), I recommend Clara Haskil or Guiomar Novaes. Both Mlle. Haskil and Mme. Novaes have studied in Paris, both have a beautiful, now old-fashioned toucher but, interestingly, their tempos with Mozart are faster than what you'd expect. Novaes' K.466 has a duration of less than 28m47s, unlike Argerich or Brendel who take more than 30 mins. Although I can't recommend the orchestra on Novaes' LP from the 1950s (Vienna Symphony Orchestra with Hans Swarowsky), I like her 2nd movement better than any of the above: https://www.youtube.com/watch?v=7Ku_fnGJ0xI

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