Customer Reviews

Mozart: Piano Concertos No.17, K453 & No. 20, K466

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Without a doubt, we have a winner. Even the packaging is great: an inexplicable Klee that just looks nice. I must say that Robert Levin has far outshined Malcolm Bilson and Jos van Immerseel in this repertoire. Hogwood's command over the players (including leader Andrew Manze) is amazing, as is the group's feeling for the music. Levin sparkles and shines and generally flourishes with this music, and while we'll never know how it sounded in Mozart's head, this has got to be nearly as good. The pairing of 17 and 20 is excellent, as you get to see cheerful, playful Mozart as well as the (somewhat rare) stormy Mozart- both in excellent form. I can't recommend this disc highly enough, for newcomers and old connoisseurs alike. The instruments all sound wonderful and the recording is very well done. We can only hope this excellent series is completed...I'd love to have the whole set.

There is no doubt, one comes away from this CD with a profound respect for the artistry of Levin. One thing that the reviewer didn't mention is the wonderful account of the 17th concerto. In many ways, I enjoy it even more than the 20th on this CD. The D minor concerto sounds great on modern instruments, but I imagine that the 17th, with such a light, brillant character in the outer movements, must sound much, much better on period instruments. The first movement is pure delight, starting with an orchestral opening that benefits greatly from such transparency of sound. In the second movement, the fortepiano's limited sustaining power and thinner tone might be drawbacks (considering the slow and highly melodic nature of the music). But the brilliant, thrilling third movement makes up for it, under Levin's skillful fingers.

The entire output of Mozart Piano Concertoes by Robert Levin, Christopher Hogwood, AAM, Oiseau Lyre is marvelous. It is a shame that they didn't record all of PC 9-27.

After listening to Levin's masterly rendering of these concerti, can anyone really listen to any other? Levin makes moot the debate over the merits of using period instruments - after all, why should we philistines want to hear Mozart in any other way than that which he intended? I'll trust Mozart's judgement - and Levin's - without reservation. A fine acheivement. There is no substitute for this recording. And kudos to Hogwood, who strikes a perfect balance between "oomph" and tenderness, achieving perfect synergy with the fortepiano. Mozart knew the power of the orchestra and it shines here - particularly in K.466, as the lonely voice of the fortepiano struggles beautifully against the stormy pronouncements of the winds and strings (which are controlled masterfully by Hogwood).