Mozart: Great Piano Concertos (2 CDs)

August 26, 1997 | Format: MP3

$11.49
Song Title
Time
Popularity  
30
1
14:43
30
2
7:53
30
3
6:34
30
4
14:18
30
5
8:13
30
6
9:23
30
7
15:51
Disc 2
30
1
7:33
30
2
8:40
30
3
11:15
30
4
7:30
30
5
8:05
30
6
15:11
30
7
10:38
30
8
8:31


Product Details

  • Original Release Date: June 2, 1997
  • Release Date: June 2, 1997
  • Number of Discs: 2
  • Label: Decca
  • Copyright: (C) 1997 Decca Music Group Limited
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 2:34:18
  • Genres:
  • ASIN: B000VHMIG6
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (22 customer reviews)
  • Amazon Best Sellers Rank: #74,940 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

I love classical piano, and this work is incredible.
Just Another Opinion
Either way you look at it, this CD is a must-buy for any true Mozart fan, and casual listeners will appreciate the bargain value.
CMS
A very high level was established and maintained throughout these recordings.
MurrayTheCat

Most Helpful Customer Reviews

47 of 47 people found the following review helpful By MurrayTheCat on December 17, 2002
Format: Audio CD
Here are several of the late concertos, in one mid-priced package, wonderfully played by both pianist and orchestra. These performances are taken from the cycle Ashkenazy did with the fabulous Philharmonia (late 70s through the mid 80s.) A very high level was established and maintained throughout these recordings. An earlier incarnation of this release lured me into purchasing his complete set of concertos. It really is quite a fantastic cycle--both sound and performance--which has been highly praised by many for years.
Ashkenazy handles the dramatic aspects of 20 without becoming too stormy. II is especially beautiful. There's a fluent, melting lyricism in his playing and the orchestra sounds just heavenly. In 21, the Philharmonia strings are gorgeous and Ashkenazy (who conducts this entire cycle from the keyboard) plays with a freshness of discovery few others have matched. I am inclined to say that Ashkenazy's 20 and 21 are as good as any despite very strong competition from the classic Serkin/Szell (CBS) in 20 and from Casadesus/Szell (CBS) and Serkin with the LSO under Abbado (DG) in 21.
Ashkenazy's 23 is serene with gorgeous orchestral support; he brings out the beauty of the music without any unwanted preciosity. 24 can sound heavy, but again, it's the music's delicacy and serenity that are emphasized here. Ashkenazy's tone is attractive and the sheer beauty of the Philharmonia seduces me. These are enchanting performances. 25 benefits from Ashkenazy's nuance and sensitivity--he makes it really sing. My favorite 23 is Curzon/Kertesz (London), and don't overlook Brendel/Marriner (Philips). When it comes to 24, Curzon/Kertesz wins again, but Ashkenazy is not far behind--nor is the fabulous Moravec/Marriner on the Hanssler label.
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71 of 80 people found the following review helpful By CMS on December 26, 1999
Format: Audio CD
What's more amazing: The fact that one can get almost all the "good" Mozart piano concertos for such a low price, or the fact that Vladimir Ashkenazy is playing them? Either way you look at it, this CD is a must-buy for any true Mozart fan, and casual listeners will appreciate the bargain value. Ashkenazy's individuality shines most when playing his own cadenzas: by combining his knowledge of Mozart's style with his own contemporary tastes, Ashkenazy delivers some delightful virtuoso work.
Of course, when it comes to the written note, Ashkenazy is just as meticulous. For example, his deliberate style in the piano exposition of the 20th Piano Concerto brings even more emotional tension to an already amazing work. Even in complicated 16th-note runs, Ashkenazy never loses sight of a movement's mood; his interpretation brings a certain personality to all the works. Mozart would have loved it.
The Philharmonia does an excellent job in backing up the piano. Never competing, always complementing the piano, the orchestra gets it "just right," although most of this is probably due to Mozart's perfectly balanced orchestrations.
All in all, a perfect collection of Mozart's most popular (if not also the best) piano concertos. If you don't buy it, you'll be missing out big-time!
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38 of 42 people found the following review helpful By A Customer on November 1, 2000
Format: Audio CD
The Penguin guide to classical music described these recordings as "golden". I agree, they're fantastic. Ashkenazy is awesome, and the Philharmonia Orchestra sounds gorgeous. The recorded sound is wonderful, and the soloist/conductor and orchestra are in total harmony. Musical bliss...However, I recommend buying ALL of Mozart's piano concertos. There are so many wonderful concertos that are not included in this set. Although not all of them are on the level of 23 or 20, most of them are really good and you won't want to miss them. Starting with 9, they're all good, though some of them are stronger in one movement than the the other two movements. As far as Ashkenazy's complete set of Mozart's piano concertos, all the recordings are excellent on that set except for the concerto for two pianos (NO. 10), the other pianist in that recording didn't have chemistry with Ashkenazy. I recommend buying the complete set with Ashkenazy and the Philharmonia Orchestra along with a better performance of No. 10. If you already own a complete Mozart piano concertos set and just want to check this set out, then these two CD's are the perfect place to look.
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10 of 10 people found the following review helpful By klavierspiel VINE VOICE on May 6, 2005
Format: Audio CD Verified Purchase
Vladimir Ashkenazy's complete cycle of Mozart piano concertos was originally issued in the late 70s-early 80s, and holds up well, on the evidence of this bargain-priced 2-CD set of five of the most famous of these works. The pianist's approach tends toward the large-scale and deliberate. This works particularly well in the majestic C major Concerto K. 503 (one is made aware of how this work influenced Beethoven's own G major Concerto) and the tragic C minor work, K. 491. He is supported by beautiful playing from the Philharmonia Orchestra, whose strings lend a magical sheen to the Romantic melodies of the famous "Elvira Madigan" slow movement of K. 467. Ashkenasy's playing is fittingly sparkling in passagework and as transparent as a modern Steinway concert grand can be. By today's standards of historical performance the orchestra is large, some of the slow movements could have used a bit more ornamentation, and the pianist's own cadenzas to K. 467, 491 and 503 wander a bit too far afield harmonically; but these are small quibbles in otherwise enjoyable performances.
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