Utwory na płycie:

• Piano Concerto KV 175 / 1
• Piano Concerto KV 175 / 2
• Piano Concerto KV 175 / 3
• Ah, Lo previdi! KV 272 / 1
• Ah, Lo previdi! KV 272 / 2
• Ah, Lo previdi! KV 272 / 3
• Ah, Lo previdi! KV 272 / 4
• Piano Concerto KV 175 (Wien 1782) / 1
• Piano Concerto KV 175 (Wien 1782) / 2
• Piano Concerto KV 175 (Wien 1782) / 3

Piano Concerto KV 175 - version for harpsichord & orchestra (Salzburg, 1773)
Piano Concerto KV 175 - version for fortepiano & orchestra (Vienna, 1782)
Ah, lo previdi KV 272 - Recitative, aria & cavatina for soprano & orchestra (Salzburg, 1777)

With his recording of two different versions of the Piano Concerto, K. 175, Arthur Schooderwoerd, one of the most sought-after interpreters on the fortepiano, presents the third part of his complete recording of Mozart's Piano Concertos on ACCENT. The early version of 1773 is Mozart's first piano concerto. In 1782 he revised the concerto, adapting it to the changed prevailing taste by replacing the original final movement with a Viennese rondo (K. 382). Arthur Schoonderwoerd also takes into account the advance in instrument building with his juxtaposition of these two versions: he uses a harpsichord for the early Salzburg version but plays the later Vienna version on a fortepiano .

As in the two previous recordings, Schoonderwoerd and his ensemble Cristofori have set themselves the objective of liberating Mozart's works from the sound ideals of the 19th and 20th centuries. The string parts in the orchestra have just one player each, resulting in a very slender and transparent sound that supports but never covers up the solo instrument.

This recording is completed by the concert aria "A lo previdi" (K. 272) for soprano and orchestra, sung by Johannette Zomer.

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Recorded 13-17 May 2013, Eglise Notre-Dame, Besançon (France); Italian harpsichord after Giusti (1720), replica by Geert Karman (G-d’’’); tangent piano after Späth & Schmahl (1770), replica by William Jurgenson (F-f’’’)