Background Image Background Image Background Image
background image

BI 2044
StarStarStarStarStar Rating
Log in to be the first to review this disc
Background Image Background Image Background Image
background image
BIS Logo
BI 2044
MOZART, W.A.: Piano Concertos Nos. 18 and 22 (Brautigam, Kölner Akademie, Willens)

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

The Classical Shop
release date: July 2014

Originally recorded in 2014

Artists:

Kölner Akademie

Orchestra

Michael Alexander Willens

Conductor

Ronald Brautigam

Soloist

Venue:

Deutschlandfunk Kammermusiksaal, Cologne, Germany

Venue

Record Label
BIS

Genre:

Orchestral & Concertos


Classical

Total Time - 59:01
background image
SELECT YOUR MUSIC FORMAT FROM THE OPTIONS BELOW*
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless
 
DOWNLOADS
Buttonbooklet

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

     
Select Complete Single Disc for
 

WOLFGANG AMADEUS MOZART

     
 

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




No User Reviews Found.