| Wolfgang Amadeus Mozart (1756-1791) - Piano Concertos: No. 1 in F Major, K. 37; No. 2 in B Flat Major, K. 39; No. 3 in D Major, K. 40; No. 4 in G Major, K. 41
(2001)
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| Cover Front |
Album |
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| Composer |
Wolfgang Amadeus Mozart (1756-1791) |
| Conductor |
Christopher Hogwood |
| Orchestra / Ensemble I |
The Academy of Ancient Music |
| Length |
60:04 |
| Format |
CD |
| Genre |
Concerto; Piano Concerto |
| Index |
352 |
| Out of Print |
No |
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| Credits |
| Producer |
Chris Sayers |
| Label |
L'Oiseau-Lyre |
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| Track List |
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| 01 |
Piano Concerto No. 1 in F Major, K. 37: I. Allegro (after Raupach: Sonata, Op. 1, No. 5, First Movement) |
05:18 |
| 02 |
Piano Concerto No. 1 in F Major, K. 37: II. Andante |
05:07 |
| 03 |
Piano Concerto No. 1 in F Major, K. 37: III. [Allegro] (after Honauer: Sonata, Op. 2, No. 3, First Movement) |
06:29 |
| 04 |
Piano Concerto No. 2 in B Flat Major, K. 39: I. Allegro spiritoso (after Raupach: Sonata, Op. 1, No. 1, First Movement) |
05:08 |
| 05 |
Piano Concerto No. 2 in B Flat Major, K. 39: II. Andante staccato (after Schobert: Sonata, Op. 17, No. 2, Second Movement) |
07:38 |
| 06 |
Piano Concerto No. 2 in B Flat Major, K. 39: III. Molto allegro (after Raupach: Sonata, Op. 1, No. 1, Third Movement) |
04:11 |
| 07 |
Piano Concerto No. 3 in D Major, K. 40: I. Allegro (after Honauer: Sonata, Op. 2, No. 1, First Movement) |
05:04 |
| 08 |
Piano Concerto No. 3 in D Major, K. 40: II. Andante (after Eckard: Sonata, Op. 1, No. 4) |
03:54 |
| 09 |
Piano Concerto No. 3 in D Major, K. 40: III. Presto (after C.P.E. Bach: "La Boehmer", Wq, from Musicalisches Mancherly) |
04:36 |
| 10 |
Piano Concerto No. 4 in G Major, K. 41: I. Allegro (after Honauer: Sonata, Op. 1, No. 1, First Movement) |
04:49 |
| 11 |
Piano Concerto No. 4 in G Major, K. 41: II. Andante (after Raupach: Sonata, Op. 1, No. 1, Second Movement) |
03:57 |
| 12 |
Piano Concerto No. 4 in G Major, K. 41: III. Molto allegro (after Honauer: Sonata, Op. 1, No. 1, Third Movement |
03:53 |
| Personal |
| Purchase Date |
7/20/2002 |
| Value |
$16.50 |
| Store |
eBay |
| Condition |
100% |
| Nationality |
Austrian |
| Period |
Classical |
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| Details |
| Studio |
Henry Wood Hall, London |
| Catalog Number |
466 131-2 |
| Live |
No |
| Recording Date |
10/6/1998 |
| Spars |
DDD |
| Reissue |
No |
| Sound |
Stereo |
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| Notes |
Robert Levin: Double-manual Harpsichord (Peter Bavington, London, 1997, after Goermans, Paris, 1764)
Cadenzas improvised by Levin
Notes and illustrations
Essay: Cliff Eisen, 2001
Essay: "A Note on Performance and Improvisation" by Robert Levin
On authentic instruments
Gramophone review:
"‘These performances follow the original practice in Salzburg and use an orchestra without cellos’, says a note in the booklet. But Neal Zaslaw, in his weighty tome on the Mozart symphonies - The Compleat Mozart (W W Norton & Co: 1991) - reckons that between 1767 (the year these works were adapted from the music of other composers) and 1775, that city’s orchestra had either one or two cellos. Controversy apart, you are unlikely to miss this instrument here because the bass’s line alone is quite rich in sonority. Moreover, Levin plays continuo (as Mozart did) and that helps to fill gaps though he is occasionally a trifle over-enthusiastic.
"Best not to be critical about that aspect, however, because these juvenile pieces get what they need: enthusiastic advocacy. The sound of the period ensemble is also very good (no seedy violins) although the harpsichord isn’t stable. Sometimes it moves forward and, in K37, wanders to the right. Levin improvises his own cadenzas, as he has consistently done throughout this series. It is his prerogative, and he has managed to stay in style without being imitative.
"Hogwood’s contribution has its own brand of distinction. For instance, his artistic contouring of phrases (some of them forming only a background) in the Andante of K40 offers delicately graded tonal contrasts to the different sort of lyricism that Levin extracts from his percussive instrument. Asperities of timbre are absent, and the succeeding Presto has a bubbling verve because all the accents are perfectly judged. Soloist and conductor always interpret the music - and that is real authenticity."
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