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Mozart: Concertos, K242, K365 & K466 Import

4.0 out of 5 stars 3 customer reviews

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Product details

  • Composer: Wolfgang Amadeus Mozart
  • Audio CD (1 Oct. 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Decca
  • ASIN: B0000041XF
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 68,032 in Music (See Top 100 in Music)
  • Sample this album Artist - Artist (Sample)
1
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9:48
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2
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7:09
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3
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6:39
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4
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8:19
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5
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7:58
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6
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5:44
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7
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14:55
Album Only
8
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9:39
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9
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Product Description

Classical Cd made in W Germany

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Format: Audio CD Verified Purchase
Mozart: Concertos, K242, K365 & K466
The reader should be aware that Amazon has decided that this review which was written for the DECCA edition - (and still appears on that Decca edition) fits into the presently Eloquence series of the same works;
And while I was enthusiastic about the Decca edition, I would caution anyone to avoid the Eloquence edition on grounds that it does not have the same sonic magnificence exhibited by the original Decca edition.
Moreover:
The advertiser of this Eloquence edition does not made it clear if it is an AMSI processed Eloquence (Berliner, German torture-process that distorts and kills the purity of sound - written and elaborated upon on another of my reviews...)

SO -
THE REVIEW AT HAND IS FOR THE DECCA EDITION AND NOT FOR THE ELOQUENCE RE-MAKE.
Note that the DECCA edition is five stars (*****) while the Eloquence re-make is only two stars.

Here it goes:
This (DECCA) might just be one of the most intriguing of all of the Mozart multi-pianos concertos on record.

Here we have a rare collaboration not found on any other recording between George Solti and Daniel Barenboim, where the two conductors face each other playing the concerto for two pianos K.365; the conducting of the English Camber Orchestra from the piano on this Decca recording is at the hands of George Solti.

On a previous (EMI) ADD recording it was Barenboim conducting this same orchestra from the piano, and on another Mozart multi-piano concertos, ADD Decca recording with Barenboim and Ashkenazy, it was Barenboim who conducted the ECO from the piano.

The concerto for three pianos K.
Read more ›
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Format: Audio CD Verified Purchase
I still had these on LP and thought it was about time I replaced them. They are some of my favourite works by Mozart, being performed by three of the greatest pianists.
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Format: Audio CD Verified Purchase
Excellent performances. I really enjoyed this C.D.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4.9 out of 5 stars 7 reviews
17 of 18 people found the following review helpful
5.0 out of 5 stars Incredible 27 Aug. 2000
By A Customer - Published on Amazon.com
Format: Audio CD
I am posting the first review for this CD -- I am very surprised that more people were not inspired to comment on it, and hope that I can direct some attention to this masterwork. Solti, best known as a conductor, was an equally great pianist, and won the Geneva Competition in 1942. His piano recordings are rare, but worth seeking out. On his disk, Solti is joined by Daniel Barenboim and Andras Schiff, who need no further introduction as interpreters of Mozart. The result is remarkable.
8 of 8 people found the following review helpful
5.0 out of 5 stars A gem by Decca: a multi-piano concertos with Solti/Barenboim/Schiff 4 Jan. 2012
By Judy Spotheim - Published on Amazon.com
Format: Audio CD
This might just be one of the most intriguing of all of the Mozart multi-pianos concertos on record.

Here we have a rare collaboration not found on any other recording between George Solti and Daniel Barenboim, where the two conductors face each other playing the concerto for two pianos K.365; the conducting of the English Camber Orchestra from the piano on this Decca recording is at the hands of George Solti.

On a previous (EMI) ADD recording it was Barenboim conducting this same orchestra from the piano, and on another Mozart multi-piano concertos, ADD Decca recording with Barenboim and Ashkenazy, it was Barenboim who conducted the ECO from the piano.

The concerto for three pianos K. 242 on this CD, has Andras Schiff, Barenboim & Solti who here too, is conducting the orchestra from the piano.
And the Piano concerto No. 20 K. 466 for single piano features George Solti as the solo pianist conducting from the piano sit.
Technically this Piano concerto is less demanding than other Mozart late concertos.
However, this Decca version of PC 20 has that "dramatic", that purpose and concentration with depth of feeling and sadness - it is the simplicity of greatness, or the greatness of the simplicity of music making that is gloriously captured here, with full piano body tone and lucid decay time - a masterpiece made possible by the Decca recording team headed by Stan Goodall. (The recording was made in 1989 at the Walthamstow Town Hall, London).

This superb Mozart multi-piano concertos with Solti, Barenboim and Schiff - should be grabbed and hold close and dear to the heart. It is a gem and no less than that.
7 of 7 people found the following review helpful
5.0 out of 5 stars Three Great Mozart Performances 3 Oct. 2008
By Herbert Winter - Published on Amazon.com
Format: Audio CD Verified Purchase
A great performance of the favorite D-minor concerto with Georg Solti conducting the English Chamber Orchestra from the piano, joined by Daniel Bairenboim for the beautiful and seldom heard concerto for two pianos, both joined by Andras Schiff for the early, pleasant and even more seldom heard concerto for three pianos. A nice combination of the well-known and not so well known, all played to perfection.
1 of 1 people found the following review helpful
4.0 out of 5 stars very good #7 and 10, more problematic #20 16 Mar. 2014
By Jon Miller ('Kirk') - Published on Amazon.com
Format: Audio CD Verified Purchase
The multi piano concerti are enjoyable, unrushed and well articulated. #7 fares a bit better, perhaps since it sounds more relaxed and the competition in #10 is so daunting: Haebler/Hoffmann/Gailliera; Rudolf and Peter Serkin/Schneider, Haskil/Anda/Galliera; Seemann/Foldes/Lehmann; Cooper/Brendel/Marriner. There is also much to
like in Solti's #20: conducting is precise and unrushed and the ECO is excellent in all three concerti. Problems
in the Romanze hurt however (and definitely may not bother others. #1-ornamentation in the cantilena I find
intrusive and unwarranted. #2 the storm in mid Romanze sounds more dainty and elegant (i.e. un-Soltiesque) than stormy/passionate/angry.

Peers in #20: Haskil/Markevitch/Philips, Goode/Orpheus/Nonesuch, Larrocha/Davis/RCA, Serkin/Szell/Sony; Kovacevich/Davis/Philips; Moravec/Marriner; Annie Fischer/EMI and Hungaraton; Haebler/Galliers/Philips
1 of 1 people found the following review helpful
5.0 out of 5 stars Never Mind the Schiff, Here's the Solti 12 Aug. 2016
By Huntley Haverstock - Published on Amazon.com
Format: Audio CD
First and foremost, don't be scared away by the presence of Andres Schiff on the cover - Schiff only figures in the proceedings as the third wheel in the performance of K.242. Blessedly, he plays no role in K.365 and K.466.

Like Leonard Bernstein and George Szell, Solti was a world-class pianist whose solo talents were eclipsed early in his career by his extraordinary gifts as a conductor. Recordings of his solo work are few and far between, and by the time this recording was made in 1990, Solti's reputation as a firebrand was set in stone, and his youthful solo career a distant memory. While he was always keen to lead from the keyboard in rehearsals, his solo playing took place mostly out of the public eye. In the meantime Solti soared to the peak of his profession as one of the world's foremost interpreters of the Romantic repertoire, and today is considered one of the all-time great Wagnerians. On the podium, his biographer wrote that he looked "like nothing so much as a spastic stork, bending and rearing convulsively, elbows pumping, knees popping, torso laboring until it seems almost as if he is going to tear the music from himself in a Dionysian frenzy."

So it goes without saying that this penchant for drama and tension makes Solti a good match for Barenboim, another famous extrovert - but what about the meek and mild Andres Schiff? In K.242, Schiff is relegated to the third piano, a minor role in which his responsibilities are limited to providing an extra layer of keyboard texture. Thank God. Throughout his inexplicably long career as an officially sanctioned "top pianist" Schiff has had plenty of other opportunities do violence to Mozart's music - perhaps most infamously in the 1980's when Decca wasted an entire WAM PC cycle on him with the great Sandor Vegh at the podium. Here, his impact is hardly noticeable, and the principal parts played by Barenboim and Solti are dispatched with obvious affection and great energy. All of Mozart's duets and music for 2/3 pianos are imbued with a certain high-wire flair, and like dueling banjo players, Solti and Barenboim trade phrases with relish in both K.242 and K.365. Solti's penchant for eliciting maximal drama from his forces is reflected in the playing of the ECO - they sound sharp and alive, and vividly captured by Decca's engineers. While there are many great recordings of K.242 and especially K.365 out there (https://www.amazon.com/Mozart-21-Piano-Concertos-Pianos/dp/B005QUGCYM/ref, https://www.amazon.com/Mozart-Piano-Concertos-Haebler/dp/B000024M7X/ref, https://www.amazon.com/Mozart-Concertos-Two-Three-Pianos/dp/B0000026PW/ref, https://www.amazon.com/Piano-Concerto-No-Pianos-K365/dp/B00005MJ15/ref, https://www.amazon.com/Mozart-Concertos-Pianos-365-242/dp/B00000E35C/ref, https://www.amazon.com/Brendel-Plays-Mozart-Walter-Klien/dp/B00005QKFR/ref) this one is a worthy entry as well. The DDD sound is excellent, and unlike many digital recordings from that era, there is a real sense of place to these performances, with an "almost-live" ambiance to it all.

While the K.242 and K.365 are both very good, the real attraction here is Solti's K.466 (which he conducts from the piano). When this record was made in 1990, Solti was 78 and in the midst of a remarkable Indian Summer, and his playing here is clear-eyed, bold, and full-bodied. And while his technique falls short of sheer perfection, he still demonstrates world-class virtuosity in both his singing tone and in his fastidious passage work. Most importantly, in bringing out the tension and turmoil of K.466 he never loses control of either his instrument or the orchestra - the result is an interpretation that is about as intense as a classical reading can be without slipping into romanticism. For a man whose legendary intensity on the podium resulted in several self-inflicted baton injuries, Mozart's music might seem somewhat incongruous, but K.466 proves a good match for Solti's style and temperament. Played properly, it is a full-on tempest, but what is surprising here is Solti's grace in executing this vision. Like a lion, Solti is able to convey menace without loss of poise.

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