£25.00 + £1.26 UK delivery
Only 1 left in stock. Sold by KAOZI168 Classical_ ''Dispatch From London within 1 day ''
+ £1.26 UK delivery
Condition: Used: Very Good
Comment: Jewel case shows minor signs of wear. Liner notes as new. Disc shows minor signs of wear.
Other Sellers on Amazon
Add to Basket
+ £1.26 UK delivery
Sold by: WORLD WIDE MEDIA MARKET (12-24 Days for Delivery from California)
Add to Basket
+ £1.26 UK delivery
Sold by: Phil_L
Add to Basket
+ £1.26 UK delivery
Sold by: EliteDigital UK
Have one to sell? Sell on Amazon

Piano Concertos No 22 S& 23 (Levin, Aam, Hogwood)

Price: £25.00
Only 1 left in stock.
4 new from £25.00 7 used from £12.95

Frequently Bought Together

  • Piano Concertos No 22 S& 23 (Levin, Aam, Hogwood)
  • +
  • Mozart - Piano Concertos Nos 5,14,16
Total price: £38.85
Buy the selected items together

Product details

Track Listings

Disc: 1

  1. Piano Concerto No.23 In A Major: I. Allegro
  2. Piano Concerto No.23 In A Major: II. Adagio
  3. Piano Concerto No.23 In A Major: III. Allegro Assai
  4. Piano Concerto No.22 In E Flat Major: I. Allegro
  5. Piano Concerto No.22 In E Flat Major: II. Andante
  6. Piano Concerto No.22 In E Flat Major: III. Allegro

Customer Reviews

There are no customer reviews yet on Amazon.co.uk.
5 star
4 star
3 star
2 star
1 star

Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4.6 out of 5 stars 5 reviews
4 of 4 people found the following review helpful
5.0 out of 5 stars A Revelation 2 Mar. 2007
By A Minstrel in the Gallery - Published on Amazon.com
Format: Audio CD
Initially, I found it took some time to adjust to unique sound of the authentic repro fortepiano used on this cd, since I am to used hearing Mozart's concertos on a modern concert grand. However, after listening to these insightful and exciting versions, one can get a real sense of what Mozart and his orchestra would have sounded like when he performed these works in Vienna during the 1780s. No. 23 is one of my very favorite concertos, and the andante is among the most tragic that Mozart ever composed. At certain moments, however, perhaps because of the very nature of the instrument, the orchestra drowns out the fortepiano, but at other times the unique accoustics and intimate sound of the instrument add a "new" and breathtaking quality to Mozart's score that cannot be reproduced on a modern piano. Robert Levin and Chris Hogwood have long been recognized as two of the most respected Mozart experts in the world, and it shows on this hard to find but very satisfying disc. If you can find this cd, don't pass it up!
3 of 3 people found the following review helpful
5.0 out of 5 stars Wolfi Knew How to Compose Music ... 8 Oct. 2010
By Gio - Published on Amazon.com
Format: Audio CD
... for the "fortepiano", his own performing instrument. He knew exactly what the expressive resources of the instrument were. He knew how much 'power' could be demanded of it in a concerto, that is, in concert with a small orchestra. He did not know how to compose for the larger, louder three-pedal piano of a century or two centuries later, an instrument with significantly different timbre and , yes, greater 'resources'. Had he been offered a modern grand, no doubt he would have written wonderful music for it. But he wasn't, and he didn't. Is that an extreme manifesto from a fervent partisan of "original instruments" and "historically informed performance practices"? Why, of course! Have I made myself plain?

Robert Levin is perhaps the geekiest pianist on Earth, a truly nonchalant and intimate stage presence, simultaneously professorial and informal. I've know him to stop in the middle of a recital to explain why he's playing a passage in a certain manner. I've heard him invite members of the audience to suggest themes from Mozart's oeuvre for him to improvise upon. He is, if I can make my meaning clear, more a Musician than a Concert Pianist; he'd rather play a piece interestingly than perfectly. He's a speed demon, true, but he makes it seem quite likely that Wolfi was another. He really, truly does improvise his cadenzas, but of course any improvising musician knows that improvisation is more recollection than invention. Sometimes his improvisations hopscotch a tad too far, modulating toward Schumann or Brahms, but that's not the case on this CD. If Levin is irrepressible and impish, Christopher Hogwood is as serene and steady as the Habsburg Monarchy must have seemed in Mozart's lifetime. They make a successful 'marriage'. Levin is a much more resourceful and exciting fortepianist than Derek Han (whose recordings of the Mozart Piano Concertos with the Philharmonia Orchestra are included in the Brilliant Classics Complete Mozart edition), and Hogwood is a more 'refined' conductor than Paul Freeman or several others of greater prominence. My only reservation about recommending this particular CD is pragmatic; I wonder whether Levin and Hogwood haven't recorded a complete set of the concertos, to be released in the future.

[That BC Complete Mozart box, by the way, is not ultimately very satisfying, with more than half of the included performances second-rate or worse.]

On the other hand, if you are a recalcitrant skeptic about the musical worth of the sort of "toy piano" that Mozart himself played, I urge you to give this CD a fair trial. You may hear beauties in the music that more 'Romantic' interpreters have obscured.
3 of 3 people found the following review helpful
5.0 out of 5 stars Levin and Mozart, aurally and visually 17 Dec. 2010
By Grady Harp - Published on Amazon.com
Format: Audio CD
Robert Levin is unique. Not only does he understand Mozart to the core, but he also dares to touch the master's piano works with his own embellishments in a way that most assuredly Mozart would have approved. This recording of both the piano concertos numbers 23 and 22 as assisted by Christopher Hogwood and the Academy of Ancient Music is as perfect a recording of these two works as is available. Not everyone will agree with Levin's electing to add his own cadenzas to these works, but his practice is a well established one historically and for this listener adds to the beauty and humor of each work.

Robert Levin is a performer. He is currently playing the K. 482 with the Los Angeles Philharmonic under guest conductor Nicholas McGegan and in being present at one of his performances the audience is allowed to see that at few times during the entire concerto does Levin not play along with the orchestral portions - quietly, not disturbing the work, but present none the less. His cadenzas expand with each performance atmosphere and he is completely involved with conductor, orchestra and audience (as is his trait, he offers the audience the opportunity at concerto's end to submit small written lines of musical tunes and then composes a Fantasia on the themes he chooses...not always inspired, but entertaining...).

But the major reason for paying attention to Robert Levin is his intellectual and emotional involvement with the music. And that aspect of his talent is readily apparent in this fine recording. Grady Harp, December 10
2 of 2 people found the following review helpful
5.0 out of 5 stars A Beautiful Recording 22 Jan. 2010
By David A. Wend - Published on Amazon.com
Format: Audio CD Verified Purchase
Mozart completed the Piano Concerto No. 22 (K482) in December 1785 and No. 23 (K488) in March 1786. An innovation for both concerti is the inclusion of clarinets in the score. Clarinets were gaining in prominence during the period and the inclusion of the instrument indicates that performers were more available. Piano Concerto No 22 is the longest that Mozart composed, clocking in at over 30 minutes. The second movement in C minor recalls his Piano Concerto No. 9, also in the key of E major. The 23rd has long been a favorite due in part to the joyous Rondo finale.

This recording is noteworthy as pianist Robert Levin improvises the cadenzas, as was the custom during Mozart's life, and thereby captures the spirit of the first performance. It may seem a bit pedantic to improvise the cadenzas but the decision, as Robert Levin explains in the notes, was not taken lightly. The instrument used in the recording is a copy of an Anton Walter made in Vienna ca. 1795. The performances of the concertos are beautifully conceived with a perfect balance between the instruments. The notes provide good insights into the music and period performance. Christopher Hogwood and the Academy of Ancient Music have never sounded better. If you have these concertos in performances with modern instruments, this disc will be an interesting alternative.
1 of 7 people found the following review helpful
3.0 out of 5 stars The Corporal seeks a Third Epaulette. 11 Mar. 2013
By Bernard Michael O'Hanlon - Published on Amazon.com
Format: Audio CD
In the early 2000s as the bean-counters scrutinised the books at Oiseau-Lyre, two projects featuring Corporal Hogwood were killed off mid-flight; his metronomic, continuo-less survey of Haydn's symphonies and his cycle of Mozart Piano Concertos with Robert Levin. The former warranted euthanasia; the demise of the latter was to be lamented even if I am not going to pull out the sackcloth and ashes.

Truth to tell, I am becoming less antagonistic towards the Corporal, especially in reference to those recordings he made later in his career. Intonation is more secure; clipped phrasing is less intrusive and the vinegary palette of the Academy of Ancient Music is somewhat tempered. His tempos, not least here, are astute. I enjoyed his traversal of Mozart's Horn Concertos with Anthony Halstead and Volume I of his Mozart's Symphonies. Perhaps the advent of Rene Jacobs, who has established a new low in Mozart-performance, has cast his virtues into high relief.

This disc is enjoyable and musical. It imparts pleasure within its own parameters. There is nothing wimpy about the response of the Academy of Ancient Music; the prelude of K 482 / 1 for instance is robust and majestic. The tension sags in the Andante episode of K 482 / 3 - and it is not a little prosaic too; other than that, both performances commanded my attention from beginning to end even if there was no seismic rearrangement of my current allegiances in these works.

Robert Levin, slayer of K 297b, has every reason to seek redemption. However clever he might be at extemporisation, I fail to hear a great keyboardist at work here: proficiency yes, mastery no. He is not helped here by his instrument. The limitations of this tinkly little fortepiano are broadcast in the respective slow movements where it is congenitally incapable of conveying tragedy and despair. One can only laugh when one re-reads the Taliban-istic claim, aired here in another review, that it is a travesty to play this music on a modern-day concert-grand where the results will inevitably be over-inflated and saccharine. Errrrr, can someone call Elysium and tell that to the Lion's Velvet Paw?

Speaking of which, for all the merits of this well-recorded disc, it is ideological silliness to pretend it's in the same class as the post-war account of Edwin Fischer in K 482 or Uchida / Tate in K 488. By all means purchase this traversal. Even if it is not a world-beater, it's still a worthwhile acquisition.

Contrary to the comment made by Grady Harp in his review of this disc, of the six movements here only K 488 / 1 has an extant cadenza from Mozart. Like Busoni and Horowitz, Levin is no fan of the composer's handiwork at this point and substitutes his own cadenza (to no vivid end). His other insertions work well enough.
Were these reviews helpful? Let us know

Customer Discussions

What Other Items Do Customers Buy After Viewing This Item?