Mozart: Piano Concertos Nos. 24 & 25

Wolfgang Amadeus Mozart (Composer), Jeffrey Tate (Conductor), English Chamber Orchestra (Performer), Mitsuko Uchida (Performer) | Format: Audio CD

Product Details

• Performer: English Chamber Orchestra, Mitsuko Uchida
• Conductor: Jeffrey Tate
• Composer: Wolfgang Amadeus Mozart
• Audio CD (September 14, 1989)
• Number of Discs: 1
• Label: Philips
• ASIN: B000004104
• Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #186,993 in Music (See Top 100 in Music)

Track Listings

1. Piano Concerto No. 24 in C minor, K. 491: Allegro

2. Piano Concerto No. 24 in C minor, K. 491: Larghetto

3. Piano Concerto No. 24 in C minor, K. 491: Allegretto

4. Piano Concerto No. 25 in C major, K. 503: Allegro maestoso

5. Piano Concerto No. 25 in C major, K. 503: Andante

6. Piano Concerto No. 25 in C major, K. 503: Allegretto

Customer Reviews

Most Helpful Customer Reviews

17 of 18 people found the following review helpful:

5.0 out of 5 stars Compelling performance of two masterpieces, June 20, 2002

By 

Timmy (New York, Ny United States) - See all my reviews

This review is from: Mozart: Piano Concertos Nos. 24 & 25 (Audio CD)

Mitsuko Uchida is one of the most distinguished Mozart performers currently active. She never indulges in overly Romantic readings (as many great pianists of the past had done) yet is not so strict as to lose a sense of passion so often missed in Mozart. Additionally, her playing is extremely lyrical (also evident in her wonderful Schubert recordings)while retaining Mozart's balance and grace. The pianist to whom I believe she has the closest affinity is probably the late Rudolf Serkin, and I would say that only his recordings can equal hers in beauty and depth.
The two concertos on this recording are among Mozart's finest. The first, in C-minor, is one of mozart's only 2 concertos in a minor key, the other being #20 in d-minor. While both are passionate, there are several differences: this piece is more consistently dark (the d-minor's finale ends in a major key, opera buffa style), and it belongs more to the realm of chamber music (whereas the other is more operatic or symphonic in nature). Of Mozart's concertos, this is one where ETA Hoffmann's observation that his concertos are more symphonies with piano obligatto than actual concertos is particularly true. There are abundant passages where the piano has duets with various woodwind instruments above string accompaniment. In fact, the use of tone color in the woodwinds is perhaps the most complex of any of Mozart's concertos, with use of both oboes and clarinets.
The first movement is dominated by an ominous theme which is developed in an extremely spacious manner. The motivic material is extremely concise (the opening theme is ever-present), and yet, Mozart stretches his movement into an expansive statement of raw emotion, though one which is not without its breakthrous of joy. The most startling formal breakthrough is the presence of piano arpeggios in the first movement coda, an original concept utilized by later composers, particularly Beethoven (who based his 3rd piano concerto on this one). Following the 2nd movement's Romanze-like Larghetto of incredible calm, one finds what is perhaps Mozart's most successful venture into variation form. The fierce, vigourous theme is varied 8 times: the two major key variations are like pleas of hope surrounded by the desperate anger of the minor key. While the final variation is in a skipping 6/8 time, it is perhaps the most desolate of the all, and leads directly into an impassioned coda.
Mozart's concerto #25 in C is of an altogether different nature. All of Mozart's concertos in this key are essays in orchestral grandeur, bu the first movement of this concertos is by far the most elaborate and majestic (though I personally prefer the more popular #21, K. 467). This piece is hardly a concerto at all, so symphonic is its opening theme. The second theme, however, is almost identical to the Marseillaise, though the ensuing minor key development puts a more dramatic spin on the simple French tune (was the French tune was based on this piece?). The rondo finale is extremely exciting, with some surprising modulations in the middle of a tremedously lyrical episode. THe work concludes with an energetic coda.
Another word must be said about Uchida's cadenzas. All of them, particularly that of K. 503, are thoughtful and true to Mozart's style (the end of the one for 503 is very exciting).
Buy this CD! It becomes more and more beautiful with each listening.

4 of 4 people found the following review helpful:

3.0 out of 5 stars Stick to Ashkenazy!, October 19, 2008

By 

Wolfgang Jaeger (Pleasant Grove, UT USA) - See all my reviews
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This review is from: Mozart: Piano Concertos Nos. 24 & 25 (Audio CD)

I have greatly enjoyed Ms. Uchida's interpretations of Mozart's piano sonatas and was thus quite excited to see how she would handle his piano concertos. But to be honest I was extremely disappointed. I think that she goes down the same wrong path that many other pianists have in recent years, and Mr. Tate as many other conductors: they treat Mozart too lightly and shy away from any real dramatic weight. The tempi were too swift, the orchestra too small, no real emotion or passion, no drive, no fire. These two concerti are the absolute pinnacle of the genre (remember what Beethoven said of the the c minor concerto?).
I will never understand the decision of a conductor to use an orchestra so small and yet use a modern piano. The result is a miserable balance with the soloist.
Horowitz had it right when he said that in many ways Mozart was a romantic composer. To treat his music as bland and faceless and then to pass it off as a legitimate "interpretation" is unacceptable. If you want to hear a proper performance of Mozart's piano concerti buy Ashkenazy's set on Decca.