Mozart: Piano Concertos No. 21 & No. 27
CAT # 80219-25
1. Mozart: Piano Concerto No. 21 in C major, K.467: I. Allegro maestoso 14:05 2. Mozart: Piano Concerto No. 21 in C major, K.467: II. Andante 6:48 3. Mozart: Piano Concerto No. 21 in C major, K.467: III. Allegro vivace assai 6:32 4. Mozart: Piano Concerto No. 27 in B-flat major, K.595: I. Allegro 14:12 5. Mozart: Piano Concerto No. 27 in B-flat major, K.595: II. Larghetto 7:16 6. Mozart: Piano Concerto No. 27 in B-flat major, K.595: III. Rondo: Allegro 9:06
"Mackerras, is, as ever, a first-rate Mozartean, providing direction of crisp, poised momentum, balanced by delicate dynamic control." —Fanfare
This recording presents an electrifying first collaboration between two great artists—Sir Charles Mackerras (already known to listeners for his critically acclaimed Mozart symphonic cycle on Telarc) and John O’Conor, the “rising star” of pianists, who is garnering the critics’ praise for both his performances and his Telarc recordings.
Mozart wrote the 21st and the 27th Piano Concertos during his mature Vienna years, and both reflect his increasing depth of expression. The slow movements in particular are some of the most poignant he ever composed.
No. 21 in C major, composed a year before his “Prague” Symphony, is in three movements, the second of which is famous for its use as the haunting theme in the film “Elvira Madigan.” The 27th Concerto in B-flat major is one of Mozart’s last orchestral works. Completed in 1791, the year of his death, it is characterized by great lyricism and simplicity.
Sir Charles and Mr. O’Conor are not only exciting performers, they are also “scholar-musicians.” They both support the theory that Mozart’s written concerto parts give only a partial picture of what he actually played. Accordingly, they provide us with intelligent music-making based not only upon Mozart’s manuscripts, but also on their own research of the performance practices of the day.
Find out more about Sir Charles Mackerras, Scottish Chamber Orchestra, John O'Conor