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Mozart: Piano Concertos Nos. 26 "Coronation" & 27
Wolfgang Amadeus Mozart, Daniel Barenboim, Berlin Philharmonic Orchestra
Mozart: Piano Concertos Nos. 26 "Coronation" & 27
Genre: Classical
  •  Track Listings (6) - Disc #1


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CD Details

All Artists: Wolfgang Amadeus Mozart, Daniel Barenboim, Berlin Philharmonic Orchestra
Title: Mozart: Piano Concertos Nos. 26 "Coronation" & 27
Members Wishing: 0
Total Copies: 0
Label: Teldec
Release Date: 2/9/1993
Genre: Classical
Styles: Forms & Genres, Concertos, Historical Periods, Classical (c.1770-1830), Instruments, Keyboard
Number of Discs: 1
SwapaCD Credits: 1
UPC: 090317571621

CD Reviews

Superb performance; excellent sound
(5 out of 5 stars)

"An outstanding presentation of these two core concertos. Barenboim's interpretation is disciplined and slightly romantic. This may be due in part to the full, lush sound of the Berlin PHO, which sounds well-rehearsed and completely in touch with Barenboim's direction. The recording is spacious, clear and highly dynamic. For example, the reverberations of the tympani are quite evident. All in all, a thoroughly enjoyable recording."
Two masterpieces!
Hiram Gomez Pardo | Valencia, Venezuela | 03/21/2007
(5 out of 5 stars)

Mozart' s two last Piano Concertos are really so opposite in character and texture, that results worth to pay attention. The Piano Concerto 26th best known as "Coronation" (24 February 1788) own that expansive, radiant and imperial character, hovered by a Dionysian splendor, so well depicted in his Symphony No. 39. It's lively, luminous and festive in its character, there' s a wisdom innocence but loaded of majestic opulence.

In contrast, the 27th Concerto is much more intimate; and it seems to exist a certain atmosphere of acquiescence respect the life; a sort of wounded grace, where melancholy and peace intermingle. The Final for instance, is not written operatically; it's like a swan's song with hesitated mirthfulness, but hovered by a cosmic spirit's grandness and sublime noblesse.

Just a few pianists have been able to decipher this semiotic language beneath the score, and most of them simply play them musically, without heeding the core of the work. Take a look around to his seven last Concertos and you will aware Mozart had abandoned all the previous archetypes and seemed to be focused around the form as final product of a most reflexive and introspective approach about the existence.

If you consider this reduced list composed by Edwin Fisher, Clara Haskil, Robert Casadesus,Daniel Barenboim, Geza Anda, Wilhelm Kempff, Emil Gilels, Lili Kraus you may feel yourself satisfied because of the fact they captured the meaning of the sounds expressing them so admirably.

Totally recommended.
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.