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Piano Concertos 21 & 22

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Audio CD, October 14, 2008
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
listen  1. Piano Concerto No. 21 in C K467: I. Allegro maestoso14:21Album Only
listen  2. Piano Concerto No. 21 in C K467: II. Andante 6:34$1.29  Buy MP3 
listen  3. Piano Concerto No. 21 in C K467: III. Allegro vivace assai 6:33$1.29  Buy MP3 
listen  4. Piano Concerto No. 22 in E flat K482: I. Allegro12:53Album Only
listen  5. Piano Concerto No. 22 in E flat K482: II. Andante 8:58$1.29  Buy MP3 
listen  6. Piano Concerto No. 22 in E flat K482: III. Rondo (Allegro)11:45Album Only

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American pianist Jonathan Biss launched his career in the late '90s, appearances as a soloist with the Baltimore Symphony and several other prominent national ensembles. He achieved career-boosting triumphs with his New York appearances in 2000: that year he debuted as soloist with Kurt Masur and the New York Philharmonic at Avery Fisher Hall and also gave his recital debut at Tisch Center ... Read more in Amazon's Jonathan Biss Store

Visit Amazon's Jonathan Biss Store
for 11 albums, photos, discussions, and more.

Product Details

  • Audio CD (October 14, 2008)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: EMI Classics
  • ASIN: B001B1R1FE
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #67,957 in Music (See Top 100 in Music)

Editorial Reviews

The young, articulate, passionate American pianist, Jonathan Biss, an exclusive artist for EMI Classics, returns with his muchanticipated fourth album for the label featuring Mozart's Piano Concerti Nos.21 and22, joined by the Grammy®-Award winning Orpheus Chamber Orchestra (sans conductor). Mozart's Piano Concerto No.21 in C is one of the greatest and most well-known of his 27 piano concerti, with its meditative slow movement used in numerous films (often called the Elvira Madigan Concerto).

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Tobias on January 30, 2009
Format: Audio CD
I bought this CD after attending a concert with Biss and the Orpheus Chamber Orchestra that featured one of the Mozart concertos. I am very happy the immediacy, joyfulness, and transparency of that spirited performance translate into this recording. It keeps making me happy.

The Orpheus Chamber Orchestra is known for playing without a conductor to beautiful effect. The players must all have a very clear understanding of the musical structure and must be very good listeners. The result of their play is so convincing that you will find yourself ordering more copies of this CD for your family and friends, as I did.
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6 of 7 people found the following review helpful By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on December 23, 2008
Format: Audio CD
Jonathan Biss is certainly one of the brightest lights in the parade of pianists that grace our concert stages. He is a virtuoso and rather than relying on physical showmanship or indulgent mannerisms, Biss is content to deliver the goods unfettered. On this fine disc he collaborates with the Orpheus Chamber Orchestra and offers two of Mozart's more popular and favorite concertos - K467 (No. 21 in C) and K482 (No. 22 in E flat). The result is chamber Mozart of sterling quality.

Biss combines a sense of architecture in shaping both movements and complete concerto with technical finesse that is as fine as we are likely to hear from any pianist. His phrasing is eloquent, his fingers flying through the rapid passages and lingering with quiet sensitivity in the slower passages. With Biss at the keyboard there is a sense of security that radiates through the orchestra and to the listener and the result is Mozart at his effervescent and languishing melodic best.

In a survey of the number of recordings of both of these Mozart concerti there are many with individual moments of greatness. The difference with this performance is that Jonathan Biss goes straight to the heart of the composer and without imposing his personality on the works he allows all of the joy to be Mozart! Highly recommended. Grady Harp, December 08
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Format: Audio CD
This pianist is son of violinist mother Miriam Fried and violist father Paul Biss. I have Ms. Fried playing a lovely reading of the Sibelius Violin Concerto, but this review will pay attention to her very gifted pianist son. His grandmother was the cello-player for whom Samuel Barber wrote his cello concerto, Raya Garbousova. He grew up surrounded by music and by music-making in Indiana. Then he went off to Curtis in Philadelphia to study under, among others, famed American keyboard artist Leon Fleischer.

A streaming audio interview with the artist is available at:

On this marvelous disc, Biss is joined by the justly renowned Orpheus Chamber Orchestra. They are an independent-minded group of players who eschew a conductor in favor of working intensely with one another under varied, rotating leaders chosen from among them according to repertoire, work by work. At the moment, Orpheus has not been very active in the recent recording catalog, lacking a settled contract with any of the major recording companies. In this commercial contract marginalization, Orpheus joins nearly every other major musical band in USA. So far, MIAs include the major orchestras of Boston, New York, Philadelphia, Cleveland, Chicago, plus others. The only USA band currently appearing regularly on Pentatone is Pittsburg. Dallas under Andrew Litton has shown up on British Hyperion. Philadelphia, San Francisco, Chicago have responded by establishing their own orchestra labels, which are offering us listeners some of the best of new releases.

The two piano concertos here at hand involve Mozart 21, and 22.
Read more ›
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3 of 3 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 500 REVIEWER on November 7, 2008
Format: Audio CD
EMI was wise to sign up Jonathan Biss, who has turned out to be their strongest young piano talent. Having heard him both live and on CD, I couple Biss in my mind with the young Peter Serkin -- both are thoughtful and unaffected, possessed of natural musical instincts. If I am not as enthusiastic about this new CD of Mozart concertos, it's not because Biss is lacking in any way.

The problem is that Piano Concetos #21 (K. 467) and #22 (K. 482) can't be turned over to a conductorless orchestra, and a reduced one at that with thrity musicians (including 11 violins, 4 cellos). Proficient as the Orpheus Chamber Orch. is, these masterpieces require an interpreter on the podium, whereas what we have here is an imprsonal, flattened reading of the notes. The soloist sounds detached from the instrumental background behind him as he makes his expressive points. The overall effect is light, upbeat, and fresh, but that's not enough. Mozart is the last composer whose music plays itself.

I think the absence of a strong conductor leaves Biss without that added touch of collaborative inspiration. Sample the famous slow movement in K. 467 -- you'[ll hear no point of view in the beautiful orchestral tutti that opens the movement, only a prettily spun melody.
The soloist enters with assured touch and refined phrasing, two traits Biss shows throughout this CD, yet I wasn't moved.

The best I can say is that these are festive, high-spirited glosses. I'm grateful, however, that no period touches were applied; we get full-bodied execution on modern instruments by deep-dyed professionals. And since Biss is such a joy on his own, four stars are well deserved.
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