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Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006

Posted By: Designol
Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006

Wolfgang Amadeus Mozart: Concerto for Two Pianos in E-flat, K. 365;
Concerto for Three Pianos in F, K. 242; Piano Concerto No. 20 in D minor, K466
Sir Georg Solti, piano & conducted; English Chamber Orchestra
Daniel Barenboim, piano; András Schiff, piano

EAC | FLAC | Image (Cue&Log) ~ 300 Mb | Mp3 (CBR320) ~ 195 Mb | Scans included
Genre: Classical | Label: Decca/Universal | # 476 2451 | Time: 01:18:16

Involving, as it does, three master musicians and a fine chamber orchestra this was never likely to be be other than rewarding. It may not correspond with the ways of playing Mozart at the beginning of the twenty-first century which are fashionable at the beginning of the twenty-first century, but it has virtues – such as high intelligence, sympathy, certainty of purpose, grace, alertness of interplay – which transcend questions of performance practice.

Looking at the names of the pianists above, we might be surprised by the presence of Sir Georg Solti, so used are we to thinking of him as a conductor. But the young Solti appeared in public as a pianist from the age of twelve and went on to study piano in Budapest, with Dohnányi and Bartok. His early ambition was to make a career as a pianist, though he soon obtained posts as assistant, at the Salzburg Festival, to Walter and Toscanini. But the rise of anti-semitism encouraged a move to Switzerland – where, in 1942, he won the Geneva International Competition. Conducting, however, gradually took over. When, in the 1980s he began to play the piano in public again – he recorded with Murray Perahia as well as with Barenboim and Schiff and made some chamber music recordings – he was rarely found wanting.

The earliest of these three works, the Concerto for Three Pianos, was written for “Her Excellency, her Ladyship, the Countess Lodron … and her daughters, their Ladyships the Countess Aloysia and Giuseppa”, to quote Mozart’s own inscription on a presentation copy of the score. Two of the parts are fairly demanding, the third – designed for the younger of the two daughters – rather simpler. There is some attractive counterpoint in the opening allegro and the adagio is tuneful and gently lyrical. The rondo which concludes the work allows each pianist to have a turn in the limelight. The whole is a skilful exercise in tact, in writing for specific non-professional performers and for a specific occasion without compromising the nature of the composer’s own musical imagination. Messrs Schiff, Barenboim and Solti play fluently, their interplay assured and sensitive, their rhythms attractively dancing in the third movement. At times the sound of three modern grands does, it must be admitted, does seem rather too large and the same might be said for the sound of the ECO’s strings. But the ear adjusts and there is a great deal to enjoy.

The Concerto for two Pianos makes fair demands on both its soloists, who were originally probably Mozart and his sister Nannerl. The parts are equally rich, there being no sense of first and second voices here. It is a substantial, lengthy work, in which the opening allegro begins with an orchestral introduction of some length before both pianos enter. The sharing of themes between the two pianos, here and in later movements, calls for some exact teamwork and careful listening – both of which are much in evidence here. The performance seems a little quicker than some that I have heard, but it coheres admirably and the rhythms are crisp and precise throughout. The modern grand pianos seem more appropriate here, in a work more powerful and less galant than the earlier Concerto for Three Pianos.

Solti is the soloist in KV 466, Piano Concerto no. 20. Beethoven played and studied this concerto and was surely influenced by it. It has a tragic intensity in places, kits D minor materials seeming to anticipate Don Giovanni. Much of the string writing is complex and has an emotional expressiveness relatively new in Mozart’s work. Indeed, there is a marked degree of emotional intensity to the whole concerto, to which Solti largely does justice. At times Solti’s fingering occasionally seem very slightly stiff and lacking the very highest degree of panache and now and then his rubato is a bit intrusive. By the very highest standards – such as those set by, say, Perahia, also with the ECO or Brendel with the Acdemy of St. Martin’s in the Fields – this performance falls just a little short. But it remains thoroughly enjoyable, as does the whole of this well-recorded CD.

Review by Glyn Pursglove, MusicWeb-International.com

This reissue offers one major work, the Piano Concerto in D Minor, coupled with recordings of pieces that I would guess musicians like to play for the sheer, uncomplicated fun of it: the concertos for two and three pianos. (All the concertos here were recorded in 1989.) The three-piano work was written for an aristocratic patron, Countess Maria Antonia Lodron, to play with her two daughters. The problem was that daughter number two was evidently not a good pianist, so Mozart wrote a particularly simple part for Giuseppa (played here by Georg Solti). The two-piano concerto was written so that Mozart himself would have a piece to play with talented Viennese students. It’s a more sparkling work, but neither piece, however good-natured the composer’s intentions, ranks that high in Mozart’s œuvre. That said, they both are treated respectfully and played well by Georg Solti and his two auxiliary pianists, who make the Adagio of the Three-Piano Concerto more touching than I’ve heard it before.

It’s charming to hear the measures of that concerto that Mozart wrote for his least-talented patron, but it also reminds me that some of Mozart’s greatest moments, even in the Piano Concerto in D Minor, come in passages a pianist could play with two fingers, such as the four quarter notes in measure 49 of the Rondo of this piece, which Rubinstein plays as written to incomparable effect and which Solti decorates. I have always thought that the sublime simplicity of those notes was the point: Solti sees them as a sketch. Still, his is a wonderful recording by a man who is obviously an important conductor and a fine pianist. This is not my favorite recording: there are others starting with Schnabel and Rubinstein. Yet orchestra and pianist play beautifully together, Solti with energy and drive.

Review by Michael Ullman, FANFARE

The spontaneous interplay, rhythmic vivacity, and virile fingerwork Georg Solti and Daniel Barenboim bring to their collaboration in Mozart’s Double Concerto is positively addictive. Solti’s fast tempos (what a clip for the finale!) are tempered by the full-bodied sonorities the conductor/pianist elicits from the English Chamber Orchestra. There are a few ungainly details, such as the solo oboe’s ugly sustained notes in the slow movement and the lack of the kind of surface refinement that distinguishes the Perahia/Lupu performance with the same orchestra. Still, these concerns hardly detract from the success of the whole.

With András Schiff at the third piano, the less musically interesting Triple Concerto similarly operates on a spirited level, as the soloists mesh to frequently gorgeous effect. The D minor concerto (K. 466) benefits from closer, more transparent engineering and a more alert orchestra. Considering his part-time pianist status, Solti more than rises to the occasion, although he underplays passages that call out for power and stamina, such as the outer movements’ fiery arpeggios and broken octaves, and the slow movement’s turbulent middle section. Some listeners also may find his rubato in the slow movement’s main theme a bit contrived and ultimately predictable. Fortunately the catalog abounds in first-rate K. 466 choices. Among these, Rudolf Buchbinder and the Vienna Symphony strike a happy medium between the bold drama of Brendel/Mackerras and the finely honed delicacy of Curzon/Britten.

Review by Jed Distler, ClassicsToday.com

Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006



Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006



Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006



Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006



rec. Walthamstow Town Hall, London, June 1989

Tracklist:

Wolfgang Amadeus MOZART (1756-1791)

Concerto for 2 Pianos KV 365
01. I. Allegro (09:49)
02. II. Andante (07:09)
03. III. Rondeaux. Allegro (06:42)
- Daniel Barenboim, piano
- Sir Georg Solti, piano & conducting
- English Chamber Orchestra

Concerto for 3 Pianos KV 242
04. I. Allegro (08:17)
05. II. Adagio (07:58)
06. III. Rondeau. Tempo di menuetto (05:48)
- Andras Schiff, piano
- Daniel Barenboim, piano
- Sir Georg Solti, piano & conducting
- English Chamber Orchestra

Piano Concerto KV 466
07. I. Allegro (14:53)
08. II. Romance (09:38)
09. III. Rondo. Allegro assai (07:59)
- Sir Georg Solti, piano & conducting
- English Chamber Orchestra


Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 3. August 2013, 12:33

Wolfgang Amadeus Mozart / Piano Concertos (Solti, Schiff, Barenboim)

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3 | 16:59.07 | 6:42.38 | 76432 | 106619
4 | 23:41.45 | 8:17.37 | 106620 | 143931
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6 | 39:57.07 | 5:48.63 | 179782 | 205944
7 | 45:45.70 | 14:53.12 | 205945 | 272931
8 | 60:39.07 | 9:38.00 | 272932 | 316281
9 | 70:17.07 | 7:59.63 | 316282 | 352269


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You may have a different pressing from the one(s) in the database

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==== Log checksum 6EAAF24DFD79C70706AAE51A4C6A63928A598EAC6F9820432D554477AC01D282 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2015-07-08 01:26:55

––––––––––––––––––––––––––––––––––––––––
Analyzed: Wolfgang Amadeus Mozart / Piano Concertos (Solti, Schiff, Barenboim)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR15 -1.10 dB -21.16 dB 9:49 01-Concerto for 2 Pianos KV 365 - I. Allegro
DR16 -4.73 dB -25.72 dB 7:10 02-Concerto for 2 Pianos KV 365 - II. Andante
DR16 -0.46 dB -21.40 dB 6:43 03-Concerto for 2 Pianos KV 365 - III. Rondeaux. Allegro
DR14 -2.52 dB -22.19 dB 8:17 04-Concerto for 3 Pianos KV 242 - I. Allegro
DR14 -6.86 dB -25.65 dB 7:58 05-Concerto for 3 Pianos KV 242 - II. Adagio
DR15 -3.62 dB -23.47 dB 5:49 06-Concerto for 3 Pianos KV 242 - III. Rondeau. Tempo di menuetto
DR14 -3.88 dB -22.94 dB 14:53 07-Piano Concerto KV 466 - I. Allegro
DR16 -3.13 dB -24.62 dB 9:38 08-Piano Concerto KV 466 - II. Romance
DR13 -0.75 dB -21.67 dB 8:00 09-Piano Concerto KV 466 - III. Rondo. Allegro assai
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR15

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 507 kbps
Codec: FLAC
================================================================================

Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006