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Mozart: Piano Concerto No.25 In C Major K.503; Piano Concerto No.20 In D Minor K.466

Martha Argerich

Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

Recorded live in Lucerne, Switzerland, in 2013, shortly before the death of conductor Claudio Abbado (who must have been quite ill at the time), this pair of Mozart piano concertos stands as a fitting valediction to his legacy. The liquid playing of star pianist Martha Argerich is a major contributor to the success of the performances, it's true. But really this is a Mozart performance shaped by the conductor, and Abbado's subtlety in his old age is remarkable to hear. In the Piano Concerto No. 20 in D minor, K. 466, he generates a great deal of tension without resorting to the Beethovenian mode of expression that is the norm for this concerto these days. The turn to D major at the end of the finale is utterly delightful in the hands of Abbado and Argerich, not a Romantic conceit like sunlight breaking through storm clouds but a quintessentially ingenious Mozartian ornament. The Piano Concerto No. 25 in C major, K. 503, Mozart's longest concerto, offers a lot to chew on, with the framework of the vast first movement and its almost neutral thematic material developed in large motions. The live sound is impressively clear, and in general this is a marvelous statement from the last months of a great conductor's life.© TiVo
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Mozart: Piano Concertos Nos. 24 & 25

Ben Kim

Classical - Released March 3, 2023 | Challenge Classics

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Mozart : Concertos pour piano n°22 & 25

David Fray

Classical - Released November 22, 2010 | Warner Classics

Hi-Res Distinctions Stereophile: Recording of the Month
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Mozart Piano Concertos

Jeremy Denk

Classical - Released July 30, 2021 | Nonesuch

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Pianist Jeremy Denk is the closest thing classical music has to a public intellectual in his native U.S., with his booklet notes to this live performance offering an excellent example. Technical and yet personal, they provide a kind of play-by-play to the interpretations offered here, which are quite detailed and yet lively. Although the recording was made before the coronavirus reared its ugly receptors, it was released in 2021, and Denk alludes to the periodic and seemingly random C minor shades in the big C major opening movement of the Piano Concerto No. 25 in C major, K. 503, as suggesting that we now "have to live with uncertainty." As it happens, details of this kind are where Denk excels. One might disagree with him along the way; the tempo shifts in the finale of the Piano Concerto in D minor, K. 466, push the Mozartian language to its limits, but his ideas are well-formed enough that he tends to sweep the listener along with him. He is aided here by the fact that he is conducting the Saint Paul Chamber Orchestra from the keyboard in a performance that is unusually well-integrated between soloist and orchestra. Nonesuch retains some of the enthusiastic applause in its live sound, which is clear. This recording has made classical sales charts in Britain, where the reputation of this unique musician appears to be spreading.© TiVo
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Mozart: Concerto for 3 Pianos in F Major, K. 242 & Piano Concerto No. 25 in C Major, K. 503

Leonard Bernstein

Classical - Released June 8, 2018 | Sony Classical

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Mozart: Piano Concertos Nos. 19 & 25 (Arr. for Piano & String Quintet by Ignaz Lachner)

Alon Goldstein

Chamber Music - Released December 1, 2023 | Naxos

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Mozart: Piano Concertos Nos 25 & 27

Piotr Anderszewski

Classical - Released January 26, 2018 | Warner Classics

Booklet
Among the hundreds of recordings of late Mozart piano concertos on the market, including many of this particular pairing, this one of Poland's Piotr Anderszewski at the keyboard and conducting the Chamber Orchestra of Europe is a major standout. Though played on a modern piano, it brings together several trends that have lately been explored in historical-performance recordings, and the result, especially in the Piano Concerto No. 25 in C major, K. 503, is a vast canvas teeming with details, perfectly controlled. Anderszewski applies interpretive freedom to the piano part without breaking the boundaries of the style: sample the finale of the C major concerto, where the pairs of chords that end the phrases of piano passagework are treated slightly differently each time. He leads the Chamber Orchestra of Europe from the piano, and here he really excels, catching the huge strides in orchestration Mozart made in this work and giving it almost the flavor of Weber. His piano work is brilliant and arresting, but he gives full space to the orchestra's wind players, and the whole has a chamber flavor (something he has said he was aiming for) despite its vast scope and despite the fact that this is not a small-group performance. The Piano Concerto No. 27 in B flat major, K. 595, is also very strong, given the same kind of liveliness and made very tuneful, rightfully avoiding the usual autumnal quality (Mozart wasn't planning on dying when he wrote this work). A richly detailed, precise, and exciting treatment of the most difficult of all the Mozart piano concertos, and a fine entry in what is apparently becoming an ongoing series from Anderszewski.© TiVo
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Mozart: Piano Concertos Nos. 25 & 27

Daniel Barenboim

Classical - Released November 4, 2022 | Warner Classics

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Mozart: Piano Concerto No. 25 in C Major, K. 503 & Don Giovanni: Overture

Fritz Reiner

Classical - Released November 4, 2016 | RCA Red Seal

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Mozart: Piano Concerto No. 25 in C Major, K. 503

Andrea Bacchetti

Classical - Released November 29, 2023 | Can Can Music Publishing

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Mozart: Piano Concerto No. 25 in C Major, K. 503 – Brahms: Symphony No. 2 in D Major, Op. 73 (Live)

Carl Seemann

Classical - Released October 30, 2007 | Archipel

Booklet
Despite leading some of Europe's finest orchestras, the name of conductor Rudolf Kempe is sadly not one that is encountered frequently today owing at least in part to the fact that his somewhat limited recorded output did not begin until fairly late in his career. Prized during his lifetime as an opera conductor above all else, Kempe had a reputation of fidelity to the score and attention to detail and balance. These positive characteristics are at once noticeable in the present recording of Mozart's Piano Concerto No. 25 with the Leipzig Gewandhausorchester and pianist Carl Seemann. The piano's sound is always warm and central, while the orchestra never comes across as timid or trying to avoid stepping on the pianist's toes. Seemann's performance, like Kempe's, focuses on detail and nuance in the score rather than drawing attention to himself. With the Dresden Staatskapelle, with which Kempe had one of his first long-term engagements, Kempe engages listeners with a strict interpretation of Brahms' Second Symphony. Without the ponderous and sometimes overdone rubato that plagues many modern recordings of this symphony, Kempe's more academic approach to the music is a breath of fresh air. This is certainly not to say that this performance is rigid or unmoving -- quite the contrary. But with the excessive emotionality removed, listeners are free to enjoy the music itself. © TiVo
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Mozart: Piano Concerto No. 25 in C Major, K 503

Hans Henkemans

Classical - Released October 1, 2009 | Past Classics

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Mozart: Piano Concertos No. 21 in C Major, K. 467 and No. 25 in C Major, K. 503

Evelyne Brancart

Classical - Released August 1, 1975 | Deutsche Grammophon (DG)