Wydawnictwo: Hyperion
Seria: Mozart Piano Concertos
Nr katalogowy: CDA 68049
Nośnik: 1 CD
Data wydania: maj 2014
EAN: 34571280493
Seria: Mozart Piano Concertos
Nr katalogowy: CDA 68049
Nośnik: 1 CD
Data wydania: maj 2014
EAN: 34571280493
Mozart: Piano Concertos Nos 22 & 24
Hyperion - CDA 68049
Kompozytor
Wolfgang Amadeus Mozart (1756-1791)
Wolfgang Amadeus Mozart (1756-1791)
Utwory na płycie:
- Mozart: Piano Concerto #22 In E Flat, K 482 - 1. Allegro
- Mozart: Piano Concerto #22 In E Flat, K 482 - 2. Andante
- Mozart: Piano Concerto #22 In E Flat, K 482 - 3. Allegro
- Mozart: Piano Concerto #24 In C Minor, K 491 - 1. Allegro
- Mozart: Piano Concerto #24 In C Minor, K 491 - 2. Larghetto
- Mozart: Piano Concerto #24 In C Minor, K 491 - 3. Allegretto
Piano Concerto No 22 in E ?at major K482
Piano Concerto No 24 in C minor K491
Piano Concerto No 24 in C minor K491
Hyperion is delighted to present Angela Hewitt’s third volume of Mozart piano concertos. Writing in The Observer, Stephen Pritchard wrote of the ?rst volume that ‘Judging from this ?rst example, it’s going to be a journey as revelatory as her exploration of all the major keyboard works of Bach’.
Here Angela Hewitt is joined by her compatriot National Arts Centre Orchestra of Canada and frequent collaborator Hannu Lintu for sparklingly stylish renditions of Mozart’s Piano Concertos Nos 22 and 24.
Both of these works were written between December 1785 and March 1786. For the ?rst time in a piano concerto orchestration, in No 22 he uses clarinets an instrument that became a regular member of orchestras only in the 1780s. No 24 is a dark and passionate work, made more striking by its classical restraint, and the ?nal movement, a set of variations, is commonly called ‘sublime’.
Here Angela Hewitt is joined by her compatriot National Arts Centre Orchestra of Canada and frequent collaborator Hannu Lintu for sparklingly stylish renditions of Mozart’s Piano Concertos Nos 22 and 24.
Both of these works were written between December 1785 and March 1786. For the ?rst time in a piano concerto orchestration, in No 22 he uses clarinets an instrument that became a regular member of orchestras only in the 1780s. No 24 is a dark and passionate work, made more striking by its classical restraint, and the ?nal movement, a set of variations, is commonly called ‘sublime’.