Wolfgang Amadeus Mozart: Piano Concertos Nos. 2, 21 & 220

18,70

2 CD

Κλασική Μουσική

Sony

Νέο!9 Ιουνίου 2021Ερώτηση για το προϊόν

Περιγραφή

194397424621

Wolfgang Amadeus Mozart

Fantasia in C minor, K475

Masonic Funeral Music in C minor, K477 (Meistermusik, Maurerische Trauermusik, Ode funèbre maçonnique)

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 21 in C major, K467 ‘Elvira Madigan’

Piano Concerto No. 22 in E flat major, K482

Piano Quartet No. 1 in G minor, K478

Αναλυτική Παρουσίαση

Wolfgang Amadeus Mozart

Piano Concerto No. 21 in C major, K467 ‘Elvira Madigan’

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 22 in E flat major, K482

Masonic Funeral Music in C minor, K477 (Meistermusik, Maurerische Trauermusik, Ode funèbre maçonnique)

Leif Ove Andsnes (Piano), Leif Ove Andsnes (Direction), Mahler Chamber Orchestra

Wolfgang Amadeus Mozart

Piano Quartet No. 1 in G minor, K478

Leif Ove Andsnes (Piano), Matthew Truscott (Violin), Joel Hunter (Viola), Frank-Michael Guthmann (Cello)

Wolfgang Amadeus Mozart

Fantasia in C minor, K475

Leif Ove Andsnes (Piano)

Pianist Leif Ove Andsnes’ new double album represents Mozart’s most creative period with an interesting selection of works. Mozart’s creative power literally exploded in the Viennese years of 1785 and 1786, and Leif Ove Andsnes explores this phenomenon with the “Mozart Momentum” project together with the Mahler Chamber Orchestra. “When you notice how quickly Mozart developed in the early years of the 1780s, you ask yourself: how did this happen? And – what happened? It’s about the incredible dynamics of his creativity during that very period,” says Leif Ove Andsnes. Because in the years 1785 and 1786 Mozart wrote a series of masterpieces in Vienna and revolutionised the form of the piano concerto.

With the five concertos Nos. 20-24, Mozart began to rethink the roles of soloist and orchestra, developing the dialogue between the two in a way that had not been done before: “With the Piano Concerto No. 20, he separates the soloist more from the orchestra. The soloist’s first appearance in this piece has a very different music from what you’ve heard from the orchestra. This is the moment that points to the future and the development of the piano concerto and the beginning of the romantic piano concerto.” In the following four piano concertos, Mozart tested the concerto form to its limits and also presented audiences of the time with new emotional demands when listening to this music: “There was new creative energy in the air,” Andsnes says. “Mozart seems to have gone deeper and deeper into the music and its expressive possibilities, trying out new techniques. I don’t know of any music that offers such emotional variety.” The Mahler Chamber Orchestra is a first-class and experienced partner of Leif Ove Andsnes for this project.

“Mozart Momentum 1785” is the first of two releases exploring these remarkable years. The double album includes the three Piano Concertos Nos. 20-22 (thus also the famous “Elvira Madigan” Piano Concerto No. 21), the Piano Quartet in G minor, the rarely heard, smaller-scored Maurerische Trauermusik K. 477 and the Fantasia in C minor K. 475 for solo piano.