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Mozart : Concertos pour piano n° 20, 21, 23 & 27

Daniel Barenboim

Classical - Released January 1, 1967 | Warner Classics

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Mozart: Concertos pour piano Nos. 21 & 22

Wolfgang Sawallisch

Classical - Released May 10, 1993 | Warner Classics

Distinctions The Qobuz Ideal Discography
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Concertos pour piano n° 21 & 24

Piotr Anderszewski

Classical - Released February 1, 2002 | Warner Classics

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Concertos pour piano n° 21 & 23

Daniel Barenboim

Classical - Released April 4, 2008 | Warner Classics

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Mozart: Piano Concertos Nos 20, 21, 23, 27

Elizabeth Sombart

Solo Piano - Released May 26, 2023 | RUBICON

Hi-Res Booklet
This double album of Mozart concertos by pianist Elizabeth Sombart and the Royal Philharmonic Orchestra under conductor Pierre Vallet doesn't exactly break new ground. It has a sound more common 40 years ago, with a modern piano and a full-size symphony orchestra, recorded in a sizable space (Henry Wood Hall). Yet it has attained a good deal of visibility, and this is because it is an unusually fine example of the type. Sombart and Vallet coordinate closely in the always unexpected interplay between soloist and orchestra. They are especially impressive in the initial handoffs in the opening movements, where the piano's world is clearly delineated, yet its playful relationship with the orchestra comes through in full. Sample the delightful evolution from tutti to solo in the Piano Concerto No. 21 in C major, K. 467. Sombart's Mozart is on the restrained side; the often-made-melancholy Piano Concerto No. 27 in B flat major, K. 595, is straightforward, and the Piano Concerto No. 20 in D minor, K. 466, is less Beethovenian than usual. However, these decisions are fully defensible, and probably the way to go now in conventional-instrument performances is to dispense with the Romantic excesses. Those in search of a lively traditional Mozart concerto recording will find it here.© James Manheim /TiVo
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Mozart: Klavierkonzerte Nos. 20, 21, 22 & 23

Daniel Barenboim

Classical - Released February 15, 2024 | Warner Classics

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Mozart, Bernstein, Lennon (Live)

Iiro Rantala

Classical - Released April 27, 2018 | ACT Music

Hi-Res Booklet
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Mozart: Piano Concertos Nos. 21 & 24

Daniel Barenboim

Classical - Released October 21, 2022 | Warner Classics

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Wolfgang Amadeus Mozart: Piano Concertos Nos. 21 & 23 - Béla Bartók: Piano Concerto No. 3

Annie Fischer

Classical - Released March 1, 2016 | Praga Digitals

Hi-Res Booklet
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Mozart: Piano Concerto Nos. 21 & 27

Daniel Barenboim

Classical - Released January 1, 1997 | Warner Classics

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Mozart: Piano Concertos Nos. 21 & 23

Jean-Bernard Pommier

Classical - Released January 1, 1989 | Warner Classics

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The Great Piano Concertos: Beethoven, Chopin, Mozart, Ravel...

Martha Argerich

Concertos - Released January 6, 2023 | Warner Classics

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Mozart: Piano Concertos Nos. 21 & 22

Jonathan Biss

Classical - Released September 15, 2008 | Warner Classics

Booklet
While one cannot but praise pianist Jonathan Biss' superb performances of Mozart's Piano Concertos No. 21 and No. 22 for their graceful tone and elegant articulation, arguably the best music-making here is done by the accompanying orchestra, the Orpheus Chamber Orchestra. Again and again, the poise of the balances, the effortlessness of the ensemble, the characterfulness of the solos, and the sheer joy in the playing steals the listener's attention away from the soloist. This is not to say that Biss is less than splendid. Building on the brilliant success of his earlier Schumann disc, the young soloist turns in well-considered but still spontaneous and wholly sincere readings of the solo parts that will surely enhance his reputation as a pianist to watch. But the conductorless chamber orchestra's performance is so fine, so true, and so filled with light that one can only hope that some classical label signs them to record Mozart's symphonies. EMI's digital sound is clear, warm, and wonderfully detailed.© TiVo
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Mozart : Piano Concertos Nos. 9,19,21,23, 27

Christoph Eschenbach

Classical - Released April 2, 2007 | Warner Classics

German pianist Christoph Eschenbach had already recorded a first-class set of Mozart's piano sonatas in 1971 for Deutsche Grammophon when he turned to the same composer's piano concertos in 1977 for EMI. But while there's no disputing Eschenbach's still impressive virtuosity, his approach to Mozart is markedly different. His tone here is full and rich with plenty of shoulder and back muscles; his lines are sustained with more pedal and more shading; and his tempos are measured with more emphasis on the downbeat and the bar line. In a phrase, where Eschenbach's sonatas had been light and effervescent, his concertos are weighty and sumptuous. For some this change in approach may be appropriate to the change in repertoire. For others, this approach may simply be inappropriate for the composer.But however one feels about Eschenbach's piano playing, for many if not most listeners, his orchestral directing will elicit one common reaction: disbelief. The London Philharmonic is a skilled professional orchestra and their ability to play together is unquestioned, but as a neophyte director Eschenbach appears over his head and sinking fast. To be specific, the tone is thick, the phrasing is soupy, the tempos are turgid, the downbeats are fat, the bar lines are leaden, and the pace is glacial. The LPO does what it can under the circumstances, but the burden is too heavy to carry. EMI's late stereo sound is deep but fuzzy.© TiVo
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Mozart Piano Concertos Nos. 21 and 22

Oslo Philharmonic Orchestra

Classical - Released January 11, 2013 | Simax Classics

Christian Ihle Hadland has become one of Norway's leading concert pianists, and he is already a major recording artist for Simax. He follows his 2010 album of solo piano pieces of Robert Schumann and Frédéric Chopin with a pair of piano concertos by Wolfgang Amadeus Mozart and gives listeners another aspect of his playing to judge. The performances of the Piano Concerto No. 21 in C major, K. 467, and the Piano Concerto No. 22 in E flat major, K. 482, with the Oslo Philharmonic Orchestra under Arvid Engegård, are modern in instrumentation, though the interpretations owe a good deal to historical practices and period sound, and Hadland's playing is crisp and Classically restrained, with a poetic side in the slow movements that is only a little suggestive of Chopin. With such tasteful expression and a technique that is polished and controlled, Hadland seems well-suited to playing Mozart concertos, though he doesn't quite inhabit the music or make it feel comfortable yet. He is agile and precise in his execution, and the orchestra provides alert accompaniment, yet there isn't a natural repartée between them, and the music feels more punctilious than easygoing. Simax provides excellent sound, so everything sounds clear and the performers seem ideally situated.© TiVo
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Mozart: Piano Concertos Nos. 20, 21, 22, 23

Annie Fischer

Classical - Released March 24, 2021 | Alexandre Bak - Classical Music Reference Recording

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Mozart : Piano Concertos 20 & 21

Christian Zacharias

Classical - Released July 27, 2001 | Warner Classics