Music / klaverkoncerter

Concertos pour piano : nos. 20 & 23
Piano concertos


Reviews (45)


RBB Kultur

d. 9. June 2021

By

By

Kai Luehrs-Kaiser

d. 9. June 2021

"In zwei Anläufen widmet sich der norwegische Pianist Leif Ove Andsnes zwei grossen, späten Kompositionsjahren Mozart. Dieses erste Volumen bietet den Klavier-Output des Jahres 1785 ... Der Anschlag der Pianisten ist deliziös leichtgewichtig; überhaupt scheint sich Andsnes von dem mancherorts aufgekommenen Verdacht befreien zu wollen und zu können, er sei vielleicht doch ein bisschen langweilig. Nur: Reicht das auf einem so umtummelten, umkämpften Terrain wie den späten Mozart-Klavierwerken?".


The telegraph

d. 11. Feb. 2011

By

By

Ivan Heweet

d. 11. Feb. 2011

"All the things that made the first recording treasurable are there: the pearly, immaculate tone, the needlepoint precision, the graceful phrasing. The orchestra, too, is on terrific form".


The observer

d. 5. June 2021

By

By

Fiona Maddocks

d. 5. June 2021

"Mozart Momentum: 1785 explores a fertile period in the composer's life, with a focus on the Piano Concertos Nos 20 to 22, which Andsnes leads from the keyboard ... With so many alternatives out there (among classics, Mitsuko Uchida, Murray Perahia, András Schiff), why this? The balance between pianists and ensemble is ideal, clear, vital. And the choice of cadenzas, especially the one by Dinu Lipatti, will make your ears stand up".


NDR.de

d. 28. May 2021

By

By

Chantal Nastasi

d. 28. May 2021

"CD der Woche: Jeder Ton - sei es von den Streichern, den Bläsern oder dem Soloklavier - ist grammgenau gewichtet, ist wie ein Mosaiksteinchen ins Gesamtbild eingefügt. Dennoch wirkt alles tief empfunden, intensiv und wie im Moment entstanden, auch durch den engen Dialog zwischen Andsnes und dem Kammerorchester ... Musikalische eloquentere, präzisere und ausdrucksvollere Interpreten als Leif Ove Andsnes und das Mahler Chamber Orchestra mit ihrer feindifferenzierten Ausdruckpalette kann man sich für ein solches Unterfangen nicht wünschen".


NDR.de

d. 2. Oct. 2020

By

By

Chantal Nastasi

d. 2. Oct. 2020

"CD der Woche: "The Messenger" komponierte der ukrainische Komponist in Gedenken an seine verstorbene Frau, sowohl in der Fassung für Soloklavier als auch in einer Fassung für Streichorchester und Klavier. Frei assoziiert Silvestrov darin Melodien von Mozart ... Silvestrovs "Meta-Musik", wie er sie selbst nennt, wirkt überraschend aus der Zeit gefallen, paradoxerweise erst recht durch den Einsatz von Elektronik: meditativ, sehr frei im Tempo, manchmal wie eine Spieluhr, deren Uhrwerk langsam an Spannung verliert ... Auch Kontraste gestaltet Grimaud besonders intensiv ... Mozarts Musik bietet ihr dazu noch deutlich mehr Gelegenheit als Silvestrovs Werke ... Das ist aufregend, sehr dicht und prägnant gespielt ... Aber diese Aufnahme überzeugt am meisten durch Mozarts Werke".


The Classic Review

d. 15. Oct. 2020

By

By

Leighton Jones

d. 15. Oct. 2020

""The Messenger" from pianist Hélène Grimaud, is a curiously programmed and executed album. Taking its title and inspiration from a piece by the contemporary composer Valentin Silvestrov, Grimaud juxtaposes his "Dialogues with Postscript" with two fantasias and a Concerto by Mozart, creating two highly contrasting musical sequences ... With careful programming, Silvestrov's style can be complementary to Mozart, with his depictions of introspection, calmness and reflection ... Grimaud's unconventional Mozart Concerto doesn't have the same detailed phrasing ... As in most of Grimaud's latest "concept albums" for Deutsche Grammophon, the vision and programming show creativity and ingenuity; the execution is relentless and ultimately exhausting, which disappointingly prevents something so curious from being as engaging as it could be".


The guardian

d. 1. Aug. 2010

By

By

Fiona Maddocks

d. 1. Aug. 2010

" It's not to all tastes, you can bet, but these accounts, with passionate support from the Kremerata Baltica, remind you of a performance tradition that has all but disappeared".


Kristeligt dagblad

d. 11. July 2022

By

By

Peter Dürrfeld

d. 11. July 2022

"Den fremtrædende norske pianist Leif Ove Andsnes (født 1970) har siden begyndelsen af 1990'erne haften omfattende international karriere og vundet adskillige priser (...) Men at han desuden er en mesterlig Mozartfortolker, fremgår med al tydelighed af en ny dobbelt-cd med titlen MM 1785. MM står for Mozart Momentum, og 1785 indikerer, at det drejer sig om værker fra dette år, et af de mest produktive i geniets karriere ... Det er Mozart med musikalske muskler! Her bliver alt rokokopudder børstet godt og grundigt af".


Politiken

d. 10. Aug. 2021

By

By

Henrik Friis (f. 1978)

d. 10. Aug. 2021

"Leif Ove Andsnes er dykket dybt ned i Mozarts klaverkoncerter fra året 1785. Resultatet er modigt, nærværende og intimt ... Det første album er i dobbeltlængde og rummer de tre klaverkoncerter nummer 20, 21 og 22 plus kammermusik. Hele vejen igennem mærker man Andsnes spille med nænsomt, men fuldstændig præcist anslag med et orkester, der kan formulere sig enkelt og varmt. Det er et album, der emmer af spilleglæde og overskud - med intimitet og et sanseligt nærvær, som holder en fanget og formentlig kan gøre det i flere år, end det tog at skrive musikken".


Politiken

d. 20. Oct. 2020

By

By

Henrik Friis (f. 1978)

d. 20. Oct. 2020

"Hélène Grimauds ... nye album med det lille præcise kammerorkester Camerata Salzburg giver bysbarnet Mozart et historisk rum at ånde i - med en intens udgave af hans vilde klaverkoncert nummer 20 og to klaverfantasier sat i scene af den 83-årige ukrainske komponist Valentin Silvestrovs blide toner ... Her klinger motiver af Mozart og Schubert som drømmeagtige rester af en fjern fortid med slørende sarte strygere, der får musikken til at svæve. Det er utrolig enkelt og meget smukt - og lige på grænsen til at være alt for banalt. Overraskende nok er det Grimauds version af Mozarts kendte koncert, der får blodet til at rulle. Hun spiller den klassiske musik helt frigjort med et godt riv i strygerne som baggrund og et anslag, der hele tiden peger fremad. Hvor solist og orkester driver hinanden frem i ren ekstase. Hun spiller også rigtig ujævnt".


Politiken

d. 20. Aug. 2010

By

By

Henrik Friis (f. 1978)

d. 20. Aug. 2010

"Det fungerer fint i de hurtige satser, men kombinationen af, at de unge musikere i Kremerata spiller overraskende standardiseret - måske i fraværet af en egentlig dirigent - og Kissins manglende følsomhed i de helt langsomme passager giver en sær fornemmelse af metervareklassik. Det løfter sig en hel del i Mozarts allersidste klaverkoncert nr. 27 med rigtig sprødt og gennemsigtigt orkesterspil, og man bliver igen og igen imponeret over den akkuratesse, Kissin afleverer de formfuldendte sætninger med".


Kristeligt dagblad

d. 18. Aug. 2010

By

By

Jakob Holm

d. 18. Aug. 2010

"Kissins dirigentdebut er slet ikke dårlig, selvom han samtidig skal koncentrere sig om at være solist på cd'ens to værker af Mozart: klaverkoncerterne nr. 20 og 27. Det er Kremerata Baltica, der bakker op, og de spiller med hidsig entusiasme ... Om man kan lide Kissins Mozart, afhænger af ens temperament, for det er Mozart, som han blev spillet for 30 år siden: højdramatisk, romantisk, tungt og fyldigt".


Politiken

d. 15. Oct. 2012

By

By

Thomas Michelsen

d. 15. Oct. 2012

"Mozarts klaverkoncert nr. 21 i C-dur med den berømte langsomme Elvira Madigan'-sats spilles, nej snarere synges så sødt som i lp'ens velmagtsdage, og den usædvanlige, dramatiske koncert i d-mol med nummeret 20 tackles lige så traditionelt og velformet. Er det kedeligt? Overhovedet ikke! Lisieckis klaverspil er et nyt mirakel ... og orkesterspillet under dirigent Christian Zacharias er en forudsigelig fornøjelse".


Jyllands-posten

d. 22. June 2012

By

By

Jens Povlsen

d. 22. June 2012

"Uden de mange nye klavernavne intet nyt blik på den gamle musik. Et af de bedre får man hos den 17-årige polskamerikaner Jan Lisiecki, der lyder mere erfaren, end han er, og tilfører Zacharias og det uldne bayerske orkester en velgørende klarhed. Lisiecki spiller lidt vel dydigt, men får med sit gode flow alligevel noget ud af koncerternes evigt snurrende strømhvirvel af længsel, nagende ensomhed og dramatiske trit. Men orkestret skygger for ham".


Kristeligt dagblad

d. 27. June 2012

By

By

Peter Dürrfeld

d. 27. June 2012

"Alt er på rette plads i begge koncerter. Nummer 20 får et særligt dramatisk skær, i og med at man har valgt at bruge Beethovens stærke kadencer i både første-og tredjesatsen, mens de to kadencer i andensatsen er skrevet af Lisiecki selv og Paul Badura-Skoda. Orkesterspillet er årvågent og fremragende, og ejer man ikke disse udødelige Mozartkoncerter, skal denne anmeldelse læses som en stærk anbefaling".


Jyllands-posten

d. 10. Sep. 2001

By

d. 10. Sep. 2001


Weekendavisen

d. 16. Dec. 2005

By

By

Peter Johannes Erichsen

d. 16. Dec. 2005


Jyllands-posten

d. 30. Mar. 2011

By

By

John Christiansen

d. 30. Mar. 2011

"Den japanske pianist Mitsuko Uchida roses meget for sit Mozart-spil. Jeg har aldrig forstået det helt ... Der er ikke megen karakterforskel på den dæmoniske nr. 20 i d-mol og nr. 27 i B-dur med melodien Kom maj, du søde milde. Vi er for langt fra Wien".


Jyllands-posten

d. 8. Sep. 2010

By

By

John Christiansen

d. 8. Sep. 2010

"Det er to kontrasterende koncerter, men det opdager man knap i Kissins nydelige spil. Der er intet Don Juan-dæmonisk i dmol".


Jyllands-posten

d. 20. Mar. 2002

By

d. 20. Mar. 2002


BBC music magazine

2021 August

By

By

Jessica Duchen

2021 August

"This is breathtaking music from a happy-to-lucky genius who couldn't say no. It's a great year for Andsnes and the Mahler Chamber Orchestra's ongoing series. That said, this recording is a mixed bag. It's highlights include a finely attentive account of the G minor Piano Quartet, showing vivid collegiality between the performers; Andsnes's C minor Fantasy, perfectly balanced and full of dramatic contrast; and the Masonic Funeral Music, directed by Matthew Truscott, making a strong impression with its dark colours and character".


Fono Forum

2021 Juli

By

By

Matthias Kornemann

2021 Juli

"Am 10. Februar 1785 trug Mozart in sein "Verzeichnüss" eigener Werke "Ein klavier konzert" ein, dem Köchel die Nummer 466 anheften sollte ... Die besondere Liebe des dirigierenden Pianisten gilt den Wundern der Holzbläser, besonders im KV 482. Mit den Streichern gerät es ihm nicht immer so rund ... Vielleicht verlangt der bescheidene Norweger zu viel. Seine Dokumentation des Wunderjahres möchte kühl und sachlich bleiben und doch ein Äusserstes an musizierender Intensität ausstrahlen".


BBC music magazine

2024 January

By

By

Charlotte Smith (musikanmelder)

2024 January

"This second Mozart collaboration between Charles Richard-Hamelin and Les Violons du Roy is a thoroughly joyful listen. The soloist is elegant in two of the composer's best-loved concertos. His delicate touch draws out a golden, bell-like resonance that contrasts beautifully with the chamber strings, whose period bows ensure the texture is never too rich or Romantic".


Klassisk

2022, nr. 66

By

By

Sune Anderberg

2022, nr. 66

"Albummet er blevet markedsført som en dristig sammenfletning af to forskellige tiders komponister, men skiftet fra soloklaver til orkesterværk og tilbage igen til Mozarts fantasi nr. 4 i c-mol er i sig selv usmidigt - og hvad værre er, så giver det første halvdel af udgivelsen en musikalsk tyngde, som Sylvestrov slet ikke kan leve op til. Mozart-musikken formidler Grimaud med dramatik, omend ikke med stor sensibilitet ... Hélène Grimaud spiller kun en begrænset rolle i Sylvestrovs musik, der næppe kunne være klemt ind i et værre udtænkt koncept end her. Hverken komponister eller musikere har glæde af en udgivelse, der hænger så dårligt sammen i udtryk, klang og temperament".


BBC music magazine

2020 Christmas

By

By

Malcolm Hayes

2020 Christmas

"Her classy way with the D minor Concerto needs no point-making presentation: her playing combines incisiveness and finesse, with winsome poise also in the slow movement and deftly superb accompaniment by the Camerata Salzburg ... Alongside Mozart's phenomenal inventive ressources, Silvestrov's presentation of static pools of sonority, themselves derived from quotations of Mozart, Brahms and other composers, can't help sounding pallid and one-dimensional, beautifully played though they are here".


Diapason

2020 novembre

By

By

Bertrand Boissard

2020 novembre


Fono Forum

2010 Oktober

By

By

Mario-Felix Vogt

2010 Oktober

"Vurdering: Empfehlung des Monats" - "Kissins Mozart-Ton ist rund, hat Körper und - wenn die Musik es erfordert - auch Biss, und die Brillanz seines Passagenspiels ist eine Klasse für sich ... In beiden Werken erweist sich die Kremerata Baltica als kongeniale Partner".


BBC music magazine

2014 April

By

By

Misha Donat

2014 April

"Brautigam and Michael Alexander Willens are never exactly slouches when it comes to tempos, and they give a breathlessly agitated account of the opening movement of the D minor Concerto K466 ... The slow movement of [K595] is decidedly on the flowing side ... But the performance on the whole is one that commands attention. Recommended".


Fono Forum

2014 Januar

By

By

Frank Siebert

2014 Januar

"Das hohe Niveau der vorangegangenen Einspielungen wird auch bei dieser Veröffentlichung gehalten".


BBC music magazine

2009 August

By

By

Roger Nichols (musikanmelder)

2009 August

"Lars Vogt's performance of K488 is a real pleasure, with playing of genuine sensitivity, and a finale that sparkles as much as it should. By comparison, the D minor Concerto K466 is disappointing. Not that Vogt's playing is ever less than thoroughly musical, but there are times when it seems a shade too rarefied".


BBC music magazine

2011 March

By

By

Jeremy Siepman

2011 March

"Despite its overall excellence, however, I felt intermittently disappointed by the B flat Concerto K595, where, to my ears, the subtlety and variety ... of the D minor performance yield to a surprisingly angular approach".


International record review

2011 February

By

By

Nicholas Salwey

2011 February

"It's hard to fault Uchida, although hers are performances to savour and perhaps not to return to too often: such is the expressive intensity that there's a risk of these readings becoming rather overbearing".


The gramophone

2021 June

By

By

Harriet Smith

2021 June

"Recording of the month - Editor's choice: How inspiring that something so enriching should have come out of lockdown ... by a socially distanced Mahler CO ... Socially distanced they may have been but the camaraderie that was so evident in their groundbreaking Beethoven cycle with Leif Ove Andsnes is, if anything, even more apparent here ... The remaining work finds Andsnes alone ... The craggy grandeur is ever present ... It sets the seal on a remarkable achievement by all concerned".


The gramophone

2023 December

By

By

Rob Cowan (f. 1948)

2023 December

"Editor's choice: Jonathan Cohen and Les Violons du Roy brook no compromises at the dramatic start of the great D minor Concerto, K466, a palpable call to arms that Charles Richard-Hamelin responds to with flair and considerable elegance. He shapes and phrases the music with a keen eye (or ear) on its dialogic potential, driving forwards energetically without bullying or indulging in display for its own sake".


The gramophone

2021 July

By

By

Peter Quantrill

2021 July

"Hélène Grimaud's albums of time-travelling dialogues find a natural home at the hipster end of the classical market. 'The Messenger' is her latest ... perched exquisitely on the edge of lachrymose sentiment, in both its solo-piano and orchestrated versions. The rounded, bass-rich contours ... only underline the soft-focus approach to music which becomes stronger when its teary 'Elvira Madigan' tendencies are less indulged".


The gramophone

2020 November

By

By

Michelle Assay

2020 November

"As pairings go, Mozart and Silvestrov is pretty inspired. And within each half of Hélène Grimaud's programme the works are thoughtfully chosen ... But another pairing on the disc is more problematic: that of Grimaud's ego and her programme. Self-indulgence served up as spirituality is a not uncommon trend these days ... Grimaud's Mozart seems to be bad-tempered and steroid-fuelled ... One fortunate outcome of Grimaud's over-robust Mozart is that her Silvestrov at least sounds comparatively peaceful and still".


The gramophone

2010 September

By

By

Jeremy Nicholas

2010 September

"He keeps ensemble tight and tidy but is unable to inspire his players above the routine, setting cautious tempi ... in performances of efficient, safe music-making ... genereally this is Mozart without a smile".


The gramophone

2014 February

By

By

Richard Wigmore

2014 February

"While I wouldn't always want to hear it like this, Brautigam's performance is certainly refreshing ... Swiftness is a feature of all the performances here ... His articulation is a model of clarity, his passagework powerfully directed".


International record review

2013 December

By

By

John Warrack

2013 December

"It is strong and effective playing, marked by a restlessness in the driving rhythms that prepares the way, after the disconcertingly blithe opening solo phrase, for Ronald Brautigam's performance".


The gramophone

2012 September

By

By

David Threasher

2012 September

"Vurdering: Critic's choice" - "Lisiecki ... is keen not to allow slow movements to drag, enabling the piano to provide a singing line in this essentially vocally inspired music; there's no hint of sentimentality ... The accompaniment is just as fine, demonstrating the advantage of having a fellow pianist as conductor ... This is a noteworthy disc from an exciting talent".


International record review

2009 September

By

By

Mortimer H. Frank

2009 September

"Perhaps the one, admittedly minor, shortcoming of this Oehms release is that the very close perspective accorded the piano lends an occasional "clang" to Vogt's tone. In all other respects, this is an outstanding disc, one that even those who already have recordings of these works might well consider".


The gramophone

2009 September

By

By

Harriet Smith

2009 September

"The finest moments are to be found in the two slow movements - Vogt finding as much lyricism as Fleisher in his recent recording of K488. But he outshines the orchestra (or is it the conductor?) too often for this new disc to offer a serious challenge to Brendel, Goode, Fischer or, particularly in K488, Uchida".


Kristeligt dagblad

d. 25. Oct. 1999

By

d. 25. Oct. 1999


Politiken

d. 12. Dec. 1999

By

d. 12. Dec. 1999


Berlingske tidende

d. 27. Oct. 1999

By

d. 27. Oct. 1999



Information and editions