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BI 2044
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BI 2044

MOZART, W.A.: Piano Concertos Nos. 18 and 22 (Brautigam, Kölner Akademie, Willens)

The Classical Shop
release date: July 2014

Originally recorded in 2014


Kölner Akademie


Michael Alexander Willens


Ronald Brautigam



Deutschlandfunk Kammermusiksaal, Cologne, Germany


Record Label


Orchestral & Concertos


Total Time - 59:01
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MOZART, W.A.: Piano Concertos Nos. 18 and 22 (Brautigam, Kölner Akademie, Willens)

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Piano Concerto No. 18 in B-Flat Major, K. 456

1 I. Allegro vivace 11:55
2 II. Andante un poco sostenuto 09:21
3 III. Allegro vivace 07:20

Piano Concerto No. 22 in E-Flat Major, K. 482

4 I. Allegro 12:19
5 II. Andante 07:37
6 III. Allegro 10:29
 Ronald Brautigam Soloist
  Michael Alexander Willens Conductor

The sixth album in this highly acclaimed series combine two works in which Mozart’s powers as an orchestrator come to the fore. Concerto No. 18 in B flat major, K 456, is sometimes referred to as one of the composer’s ‘military concertos’ on the basis of the march-like main theme of the first movement. But more striking is the variety of ways that Mozart employs the various groups of instruments: strings, wind instruments and, of course, the piano. This aspect certainly didn’t pass unnoticed by a listener as initiated as Mozart’s father Leopold: in a letter to his daughter Nannerl he described how his enjoyment of the orchestral interplay had brought tears to his eyes. The performance that Leopold was referring to was by Mozart himself at a concert in Vienna in 1785, but the work is believed to have been written for the blind virtuoso Maria Theresia von Paradis to play on a concert trip to Paris, and the demanding piano part leaves us in no doubt about her abilities as a pianist. Concerto No. 22 in E flat major, on the other hand, is one that Mozart wrote primarily for his own use, completing it on 16th December 1785, and performing it later the same month. It is the first of only three piano concertos in which he uses clarinets, to particular effect in the expressive Andantino cantabile episode of the otherwise ebullient Finale. The orchestra is on the whole unusually large, with trumpets and timpani, and horn parts which are uncommonly independent and important to the musical argument.

                         Editor’s Choice - Orchestral 

"... beautifully recorded performance for Ronald Brautigam and the responsive Cologne period band... the easily flowing  pace and delicate touches of embellishment ... mesh perfectly with the animated naturalness of the whole performance."

Richard Wigmore - Gramophone magazine - July 2014

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