Search - Wolfgang Amadeus Mozart, Daniel Barenboim, Berlin Philharmonic Orchestra :: Mozart: Piano Concertos Nos. 20-23

Magnificent Mozart by Barenboim and the Berlin Philharmonic

A. Braid | New York, NY | 03/28/2004

(5 out of 5 stars)

"The Mozart piano concertos are some of the most exraordinary pieces from the Viennese Classical period written by a composer who was a master of both keyboard and orchestral writing. The Concertos Nos. 20 through 23 represent the height of his achievements in this genre and include the D minor, k466; C major k467 (Elvira Madigan), E-flat major k482; and A major, k 488. Written at age 30, in these four works Mozart goes above and beyond using the concerto for simple entertainment and dazzling keyboard virtuosity. Each is a carefully crafted piece and different from the rest. The D minor (No. 20) is one of only two concertos Mozart wrote in the minor mode: its first movement features an ominously mysterious opening and many sudden dynamics; the second movement 'romance' has a fast section in the middle; and the last movement has a triumphant coda in D major. The opening to the C major (No. 21) is march-like with sparkling trills in the wind parts; its second movement is probably the most famous movement of any of the concertos with the aching duple vs. triple theme--the piano plays a melody in eighth notes while the strings strum their chords in triplets). And I could go on talking about each movement of each concerto.The Berlin Philharmonic goes about doing what it does best, namely being one of the world's best orchestras. The sound is warm and lush, notes are perfectly in tune, and colors from both the winds and strings are beautiful and well-balanced (and the wind parts are especially prominent in these concertos, so this is an important note) . The Berliners command every color, from the suspenseful opening of No. 20 to the heroic opening of No. 22 to the simple melody at the outset of No. 23. Barenboim is also showing his best, shaping phrases of half notes and quarter notes as deftlly and beuatifully as his easily dispatched sixteenth note runs. He is expressive while staying in the range of what Mozart's music naturally allows. Barenboim is conducting as well, as has become a relatively common performance practice for these pieces. (Mostly, Barneboim plays his own cadenzas but also uses cadenzas by Mozart and Beethoven where standard.) As for Teldec, the engineers have done a remarkable job; the liner notes could be better. These are some of the best Mozart piano concertos I have ever heard and at 2 CDs for the price of one, I recommend that you dig in and enjoy!"

Sounds like Beethoven but still wonderful

Johnson Lee | Irvine, CA USA | 02/02/2006

(5 out of 5 stars)

"Barenboim's tone is firm and has a good edge around it. It reminds me piano's sound comes from a hammer hitting a string - even when he plays softly. More punch and clarity compared to any other version. His interpretation is romantic and virtuosic.

Berlin Phil's sound is rich and grand - exactly opposite of the historically informed performance practice. A little pompous but still top-notch.

Perahia and Brendel both offer more intimate renditions. Especially Perahia's playing has everything you ever want for Mozart - lyrical, lively, tender, bittersweet......simply heart-stopping. If the recording quality was above average, his recordings would be undoubtedly my first choice. Brendel's playing is insightful and full of beautiful moments. But he tends to be too deliberate to create peculiar tones he wants and to deliver more legato.

If you think you will enjoy a very well-played and extremely well-recorded Mozart's concertos with a slight hint of Beethoven, Barenboim is your guy.

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