Mozart: Piano Concertos Nos. 10, 19 & 20, K. 365,459,466

Wolfgang Amadeus Mozart (Composer), Alexandre Rabinovitch (Conductor), Martha Argerich (Performer) | Format: Audio CD

Product Details

• Performer: Martha Argerich
• Conductor: Alexandre Rabinovitch
• Composer: Wolfgang Amadeus Mozart
• Audio CD (July 6, 1999)
• Number of Discs: 1
• Label: Teldec
• ASIN: B00000J9HS
• Average Customer Review: 4.0 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #188,181 in Music (See Top 100 in Music)

Track Listings

1. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Allegro

2. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Romance

3. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Allegro assai

4. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegro

5. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegretto

6. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegro assai

7. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Allegro

8. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Andante

9. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Rondeau: Allegro

Customer Reviews

Most Helpful Customer Reviews

15 of 16 people found the following review helpful:

5.0 out of 5 stars A new way with Mozart, January 20, 2000

By 

John Grabowski (USA) - See all my reviews

This review is from: Mozart: Piano Concertos Nos. 10, 19 & 20, K. 365,459,466 (Audio CD)

This disc is most important in the Mozart catalog, despite the dismissive comments from some poorly-informed listeners here. In an age where genteel Mozart dominates, these bold, masculine recordings are a new way of looking at old relics, and quite frankly probably closer to the way Wolfie intended. Over the centuries Mozart has become the man-child in most interpretors' hands (see the chapter "The Myth of the Eternal Child" in Solomon's biography, _Mozart, A Life_) and this recording makes one finally able to imagine the Mozart who had stubble, who was a man and not a boy. The comment that Argerich can scarcely be expected to negotiate this music after her bold "recent" Rachmaninoff 3rd recording should just be ignored: the Rach 3 disc is not recent but from 1983, and she no longer plays the Rach in her repertoire, and it was clearly far from her mind when she made these recordings. (Her style in the two discs bear no more than a superficial relation.) But she does attack all music with force and conviction, and is not for the faint-hearted. She challenges conventions...I thought this is what artists (like Mozart himself) were supposed to do.

6 of 8 people found the following review helpful:

4.0 out of 5 stars Classic Argerich, December 16, 1999

By 

GOH AIK GUAN (Singapore, Singapore Singapore) - See all my reviews

This review is from: Mozart: Piano Concertos Nos. 10, 19 & 20, K. 365,459,466 (Audio CD)

When one listens to Argerich, one must expect the extraordinary. Not for her is the run of the mill performance which conventional wisdom associates with the "correct" style. She is here to offer gems of ideas of how a composer's work can be intepreted. Her rendition of the D minor Concerto is classic Argerich. Her tone colour (eg.with brlliant use of the una corda), "fantasique" use of rubato and how she makes the music soar make one realise how exciting Mozart music can be. I would rank her D minor rendition with Clara Haskil's (listen to how she ends her cadenza in the 1st movt; the almost unbearable tension and well-gradated crescendo; ditto for Haskil). Different in their own ways, but similar in how they each imprint their individualism in the work. My only problem was with the 1st movt of the F maj. The approach is affected, and I cannot quite understand some of the things she does (eg. tempo rubato at some points) which seem to be idiosyncracies. Her approach seems to be too robust for something so dainty. I would go for Alicia De Larocha's 1st movt for her transparency and simplicity. But Argerich's 2nd movt and 3rd are classic, esp her statement of the 1st subject of the 3rd movt after the first "small" cadenza: the deliberateness in which she reiterates the theme after that, seems almost as if she has not got over her musing in the cadenza. Strongly recommended for students and music lover who want something that goes beyond the jaded renditions of Mozart, and of course for Argerich fans, which I count myself as one.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Argerich makes a rare, triumphant foray into Mozart, May 6, 2010

By 

Santa Fe Listener (Santa Fe, NM USA) - See all my reviews
(TOP 500 REVIEWER)    (HALL OF FAME REVIEWER)   

Amazon Verified Purchase

This review is from: Mozart: Piano Concertos Nos. 10, 19 & 20, K. 365,459,466 (Audio CD)

This CD is a triumph of ebullience over finesse. I don't need to echo the general impression that Argerich offers very bold, forceful Mozart playing. It's one of the peculiarities of her career that she favors big Mozart and small Beethoven. Her old style in the D minor concerto harks back to Serkin and Edwin Fischer, whose generation always took this work to be proto-Beethoven. Since Argerich has never recorded the two mature piano concertos of Beethoven, the Fourth and fifth, this account of the D minor is her most heroic playing in that style, compared to which her Beethoven First, Second, and Third are relatively classical. Even Serkin is more classically circumspect, and as other reviewers assert, Argerich's contemporaries who specialize in Mozart (Perahia, Uchida) are far more delicate and small-scale, taking their cue from restrained models like Haskil and Gieseking.

The Padua and Veneto orchestra, which can also be heard in Beethoven under Peter Maag, are a somewhat rough but jolly bunch, and their vigor suits Argerich's approach perfectly, although they aren't equal partners. As much as Rabinovitch charges ahead and pumps up the sonority, the pianist remains in total command -- to an astonishing degree, in fact. At every turn she contradicts the accepted way we hear Mozart today, and yet her authority sweeps everything before it. She towers like Horowitz but without his arbitrary, grandstanding self-regard. In both K. 459, where Rabinovitch is both soloist and conductor, and K. 466 tempos are fast and the atmosphere bracing. Teldec's recorded sound is excellent; it balances wind soloists an the piano quite well, bringing out their colorful interplay. For some reason I assumed that these wrre early recordings, but the two-piano concerto dates from 1995, the two solo works from 1998.

I wonder why the Amazon critic makes such silly statements? He informs us that the three concertos are very different, but then he characterizes both K. 459 and K. 466 as dramatic (which they are, doubly so in Argerich's hands), and cops out on K. 365 by inanely describing it as "simply lovely." This is musical analysis?