Περιγραφή
| Wolfgang Amadeus Mozart | Fantasia in C minor, K475 Fantasia in D minor, K397 Piano Concerto No. 15 in B flat major, K450 Piano Concerto No. 27 in B flat major, K595 Piano Concerto No. 9 in E-flat major, K271 “Jeunehomme” Piano Sonata No. 11 in A major, K331 ‘Alla Turca’ Piano Sonata No. 8 in A minor, K310 |
Αναλυτική Παρουσίαση | |
| Wolfgang Amadeus Mozart | Piano Concerto No. 9 in E-flat major, K271 “Jeunehomme” |
| Wilhelm Kempff (Piano), Members of "L'Orchestre de la Suisse Romande", Karl Münchinger (Μαέστρος) | |
| Wolfgang Amadeus Mozart | Piano Concerto No. 15 in B flat major, K450 |
| Wilhelm Kempff (Piano), Stuttgart Chamber Orchestra – Karl Münchinger (Μαέστρος) | |
| Wolfgang Amadeus Mozart | Piano Sonata No. 11 in A major, K331 ‘Alla Turca’ Fantasia in C minor, K475 Piano Sonata No. 8 in A minor, K310 Fantasia in D minor, K397 |
| Wilhelm Kempff (Piano) | |
| Wolfgang Amadeus Mozart | Piano Concerto No. 27 in B flat major, K595 |
| Wilhelm Kempff (Piano), Berliner Philharmoniker – Ferdinand Leitner (Μαέστρος) | |
| All of Kempff’s post-war recordings of Mozart on two 2CD sets. The first comprises five piano concertos, while the second brings together three piano concertos, two sonatas and two Fantasias. The naturalness, expressive freedom, freshness and spontaneity of the music-making will always be treasured. Reviews ‘almost anything played by this keyboard titan is worth hearing’ International Piano ‘poetry in almost every phrase’ Gramophone ‘Great performances, like great music, transcend history. Wilhelm Kempff, in his Mozart recital for DG in 1962 achieves miracles of beauty by means which are now frowned upon in certain circles but which are an object lesson in great piano-playing and great music-making: in phrasing at every level, in melodic inflection, finesse of rubato, pianistic colour as an agent of structure, in pedalling.’ Piano ‘The timbral bite and delicious registral differentiation characterising Lubin’s instruments was replicated on a modern grand piano when Wilhelm Kempff sat down to record a ravishing Mozart recital for DG in 1962 . . . Trills, turns and roulades caress the ear to the point where issues of “correct” style are irrelevant, while few pianists match the rhythmic kick of Kempff’s rolled chords in the Rondo alla turca. It’s also refreshing to hear the Fantasias (in D minor and C minor) sound more like unpressured improvisations than tortured soliloquies.’ Gramophone |
