Alf's recordings with Mackerras are very fine . My desert island disc would be a performance taped off the radio in the 1980s with Malcolm Binns at the piano - when that tape snapped I was close to tears !!!
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Indisputedly 'great', IMV, are:Originally posted by LeMartinPecheur View PostDid anyone pick up on KD's announcement (if I heard correctly) that during the Proms we'd be getting ALL SIX of the great late Mozart piano concertos?
Have I missed an announcement that Constanze has now been proved to have written several of them???
To be charitable, I suppose she may have been writing off the Coronation from the '20 upwards' group, but if so I'm not at all sure that the 'great' ones start with K466.
K271 maybe...?
K271
K449
K453
K459
K466
K467
K482
K488
K491
K503
K595Comment
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Mr Stirling
has the almost unique ability to be ALWAYS on fine form.
Envy is a sin, by the way...
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Originally posted by Tony View PostMr Stirlinghas the almost unique ability to be ALWAYS on fine form.
Envy is a sin, by the way...
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I have K450 & K451 in the great list tooComment
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Originally posted by LeMartinPecheur View PostHave I missed an announcement that Constanze has now been proved to have written several of them??? ... but it's strange. I'm a Mozart PC addict (although being a pleb and having not a great memory for numbers, I only know a few K-numbers by memory) but I've never felt that the last three numbered ones
No. 25 in C major, K. 503
No. 26 in D major, K. 537
No. 27 in B-flat major, K. 595
really deliver the same level of sublimity as my favourite group, which are
No. 9 in E-flat major, K. 271
No. 15 in B-flat major, K. 450
No. 16 in D major, K. 451
No. 17 in G major, K. 453
No. 18 in B-flat major, K. 456
No. 19 in F major, K. 459
No. 20 in D minor, K. 466
No. 21 in C major, K. 467
No. 22 in E-flat major, K. 482
No. 23 in A major, K. 488
Always puzzled me, that.
I also love No. 1 - within a few bars of the start there's a little harmonic sidestep which gives me shivers. Good little Wolfie!
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Depends on how one defines "great".Originally posted by Tony View Post
271 (despite its remarkable beginning) and 595 (despite being the last one, but simply compare with the clarinet concerto to hear what I mean) aren't, 503 and 537 perhaps (despite the brilliant orchestration), but I'd like to add 414 here (IMO the only where piano concerto and comic opera meet), with for me 482 (the symphonic treatment and setting the soloist against the winds in the slow mvt)) and 488 (that slow mvt) in the top 3.
The last concertos IMO show that Mozart's attention was turning away from this form (meant to show off himself) towards opera and chamber music - the string quartets and quintets e.g.Last edited by Guest; 18-07-15, 23:27.Comment
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Originally posted by Caliban View Post ... but it's strange. I'm a Mozart PC addict (although being a pleb and having not a great memory for numbers, I only know a few K-numbers by memory) but I've never felt that the last three numbered ones
No. 25 in C major, K. 503
No. 26 in D major, K. 537
No. 27 in B-flat major, K. 595
really deliver the same level of sublimity as my favourite group, which are
No. 9 in E-flat major, K. 271
No. 15 in B-flat major, K. 450
No. 16 in D major, K. 451
No. 17 in G major, K. 453
No. 18 in B-flat major, K. 456
No. 19 in F major, K. 459
No. 20 in D minor, K. 466
No. 21 in C major, K. 467
No. 22 in E-flat major, K. 482
No. 23 in A major, K. 488
Always puzzled me, that.
I also love No. 1 - within a few bars of the start there's a little harmonic sidestep which gives me shivers. Good little Wolfie!
I know what you mean about K503 - a bit grand and K 537 perhaps not grand enough K595 however I love especially in the Gilels/Bohm recording .
What about no 24 though K491 ?Comment
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I had K595 in that recording (plus Perahia, Zacharias...) - nope, leaves me cold for some reason.Originally posted by Barbirollians View Post
As does the C minor one. I think WAM's idiom in these pieces works better in major keys - though K466 is amazing enough to subvert that generalisation.
That's a most interesting perspective, reflecting my comment in my almost-simultaneous post, Roehre.Originally posted by Roehre View Post"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Both the d-minor KV466 and the c-minor KV491 were favourites of Beethoven's.Originally posted by Caliban View Post
Btw: It still is not completely clear whether Beethoven started composing his c-minor op.37 before or after he came across Mozart's.Comment
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Caliban and Roehre: I share your view that something strange has happened to WAM by K595, and for me this also applies to the clarinet concerto. These works are somehow too perfect, marmoreal; WAM has lost his free-flowing spontaneity and fantasy.Originally posted by Caliban View Post
For me this applies to other late 'masterpieces' too - I've never been that thrilled by the last str. 5tet, and much prefer the 6 'Haydn' 4tets to the 'Prussians'.
But Caliban, keep trying with K503, one of my favourites
I keep hitting the Escape key, but I'm still here!Comment
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I rather liked the performance of K.466 by Lars Vogt on first hearing on BBC 2 on Friday night. So much so that I listened to a few performances on youtube and found what might be an even better performance by him in the above link.
I also like the performances by Barenboim and others freely available on youtube.
bws
Chris SComment
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I have:-
271,450,451,453,456,459 Ashkenazy
466,488,491,537,595 Curzon(Beautiful playing)
467,503 Bishop(As he then was)Comment
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