Welch hervorragende Künstler ! Man kann sich fragen, ob zur Zeit von Mozart, die Musiker eigentlich so perfekt spielen konnten ... Vielen Dank für diese wunderbaren Momente !!👍👍👍
No such thing as "the greatest" when it comes to art. No quantitative measure exists like in won-loss sports league standings. Can you really say it's greater than Mozart's C Minor or Beethoven's or the Rach 3? Certainly a great concerto though.
@@telephilia Yes, of course this is a far superior concerto than any of those you've mentioned. Do you think those are better concertos than K. 503? Can I ask why?
J'aime beaucoup la volubilité scandée et affirmée de Francesco Piemontese .On est tout à fait dans l'esprit mozartien autant dans la précision que dans la fantaisie qui se ressaisi sans cesse de toute échappée au delà d'un cadre strict , faussement échevelé et pourtant on sent chez lui comme un appel constant de s'échapper des limites imposées . Nous sommes avec Wolfgang Amadeus , en définitive dans un jeu subtil pour échapper aux règles , tout en faisant semblant de les affirmer et de les respecter . Ce sautillement si constant chez lui va pour une tentative d'envol de la mélodie encouragée par les vents , flute , cor , ou hautbois , comme pour nous dire sans cesse : "Je m'échappe de la partition et de ce monde vil et vulgaire ". Car lui même et son père Léopold avaient conscience dans leurs échanges épistolaires de la grande vulgarité de ce monde constamment en proie à la pesanteur ainsi que d'un style artistique pas forcément délicat et élevé .
Another delightful example of how joy and precision come together when you listen to hr sinfonic here and in union with the always clear an perfect sound this recording is great to hear. Congratulations to orchestra AND sound engineers
What a remarkably beautiful orchestral sound. The soloist is excellent but the orchestra steals the show as far as I am concerned. Thank you. More videos, please!
KV 503 (Kennedy Center - Program notes by Richard Freed - Wikipedia) The early part of December 1786 was an especially busy time for Mozart, who was by then planning his visit to Prague the following month for performances of The Marriage of Figaro. He apparently performed this concerto in Vienna on December 5, 1786, the day after he completed the score, and on the day following that premiere he wrote the final double bar in the score of his Symphony No. 38 in D major (K. 504, the first symphony he had composed in more than three years), which he probably introduced a week or two later. He took the symphony to Prague, where he arrived as a hero and enjoyed the greatest success of his life. By the time he arrived there, on January 11, 1787, Figaro was already in production and its tunes had been taken up by the public and turned into dances. Mozart not only attended performances of his wildly popular opera, but conducted one of them himself, and on January 19 he gave a concert in which he conducted his new symphony, which became known as the "Prague" Symphony. While that symphony and has figured in the concert repertory ever since then, the concerto composed at the same time fell into an incredibly prolonged neglect following Mozart's death. There is no record of his performing any of his concertos during that famous visit to Prague; he played K. 503 again in Vienna on April 7, 1787, and again in Leipzig on May 12, but when Artur Schnabel performed the work with the Vienna Philharmonic under George Szell in 1934, the event was noted as the first performance of this work in that city since Mozart's own, some 147 years earlier. It was not until after the Second World War that this concerto took its place in the repertory, and was recognized as one of the very greatest works of its kind. The last three concertos Mozart composed before this one-No. 22 in E-flat (K. 482), No. 23 in A major (K. 488), No. 24 in C minor (K. 491)-are associated with Figaro. All three of them were written more or less concurrently with the opera, and there are reminders of this in Mozart's use of the orchestra, particularly the expressive writing for the winds. Don Giovanni, commissioned during that triumphal visit to Prague, was produced there in October 1787, and Così fan tute did not materialize until 1790, but it is with Così that this Concerto in C major shares its most striking features. The parallel here, as the distinguished Mozart and Haydn authority H.C. Robbins Landon has suggested, is one between "the stage work in which Mozart most brilliantly and perfectly solved the structural, dramatic and musical problems which had occupied so much of his best operatic efforts" and the concerto that "contains the essence of Mozart's approach to the sonata form: unity within diversity." In his discussion of the piano concertos, Mr. Landon did not hesitate to designate this one "the grandest, most difficult and most symphonic of them all," while noting also "the complete negation of any deliberate virtuoso elements." The opening of this concerto has been compared frequently with that of Mozart's final symphony, the "Jupiter" (No. 41, also in C major, K. 551): it is not merely festive, as so many big C-major concert works of its period are, but more specifically majestic (and, needless to add, Mozart knew how to achieve this quality on a very persuasive level, without any huffing-and-puffing or any sort of self-conscious gesture). This distinction was emphasized by Cuthbert Girdlestone in his book on the Mozart concertos; he cited the marking for the opening movement-Allegro maestoso, rather than brillante-and observed, "Few of Mozart's compositions show themselves to the world with so original a frontispiece and none opens in such bold tones. Its heroic nature is apparent in its first bars-not the sham heroism of an overture for which a few impersonal formulas suffice, but that which expresses greatness of spirit." Beyond that, however, and despite the work's symphonic character, for Girdlestone the parallel was not with the "Jupiter" Symphony, and not with any of the stage works, but with yet another towering work in C major from roughly the same period, the String Quintet, K. 515. In the concerto's opening tutti, elaborate as well as majestic, is a four-note motif whose rhythmic pattern is more or less the same as that of the famous opening theme of Beethoven's Fifth Symphony (21 years in the future when this concerto was composed). The other themes in this movement are related to this motif, and one of these, formed by joining a "second half" to it, comes close to being a far more striking anticipation of the Marseillaise (composed five months after Mozart's death). But once the piano enters, the entire question of resemblances or "pre-echoes" simply evaporates under the sheer breadth and variety in Mozart's exploration of his fairly modest basic materials. (This concerto is one of several by Mozart for which his own cadenzas have not survived). The middle movement, although marked Andante, has the character of a long-breathed adagio. Its relative simplicity and serenity make it both an effective foil for the preceding movement and an effective transition to what Girdlestone described as "one of Mozart's most serious-minded rondos." The very substantial finale exhibits a remarkable balance between animation and subtlety, and also a borrowing from one of Mozart's own earlier works: the theme is clearly recognizable as an adaptation of the gavotte that stands at the penultimate position in the sequence of ballet music for Idomeneo. (That opera seria, introduced in Munich in 1781, was in fact given its first Viennese performance at the beginning of the year in which this concerto was composed, but the premiere of Figaro and the composition of three other piano concertos came between these two events.) The gavotte tune no longer has its soft contours here, and there are also witty passages that do indeed seem to look ahead to Così fan tute, passing episodes of affecting tenderness, and overall an impression as aristocratic and majestic, in its way, as that created by the opening movement. The difference between the two outer movements, to quote Girdlestone once more, "is the absence of heroic accents" in the finale, but the same writer observed that an episode in the middle of the rondo "attains a degree of passion which has no counterpart in the [opening movement]."
(Piano Concerto 25) 1st movement 0:23 begins | 2:47 build up | 6:43 build up | 12:14 build up | 14:32 build up to end 2nd movement 15:17 begins 3rd movement 22:49 begins | 31:15 build up to end
Et cet orchestre s'il vous plais ! Ils font des merveilles dans tous les domaines, Mahler, Wagner, Mozart avec eux est un must, une clarté autant dans les piano que dans les forte pratiquement autant explosifs que les instruments d'époques ; alors qu'ils font tout sur des modernes, leurs passions se ressentent dans leurs corps. Quel orchestre de génie !
Loving this splendid work-they all are-by Mozart on the sad date December 5, and pondering along with us all on what other amazing works might have been.
Apesar dos solavancos provocados pelo contato dos sapatos de Piemontesi aos pedais do piano, perceptível aos ouvidos mais críticos, o concerto foi brilhante. Tal como já frisei, amo está orquestra, seus músicos, essa incrível sala de concerto e seu vibrante maestro. Quero novas postagens! Obrigado.
Equivoquei-me quando os solavancos! Eles existem sim, mas são provocados pelos sapatos de M. Honeck sobre o tablado. Como já ressaltei, só quem tem ouvido preciso observa isso. Mas isso não diminui a graça do concerto.Nem tudo é perfeito ... .
Des musiciens extraordinaires ! Mozart aurait sans doute apprécié cette interprétation . On peut se demander si du temps de cet immense compositeur , les orchestres jouaient aussi bien que ceux d'aujourd'hui . Un grand merci à tous ces artistes !
Der klare und gut kontrollierte Anschlag des Soloklaviers ist echt eindrucksvoll. Die zurückgehaltene Begleitung des Orchesters ist auch bemerkenswert.
Mozart didn't usually write cadenzas, nor did he in this. Usually it's up to the soloist to do a little jazz-like improv. There are some written out ones by the likes of Hummel (a near-contemporary of Mozart) that are often performed.
Wunderbar. Aber dieses grässliche dissonante "Schritsch" am Anfang und Ende macht es kaputt. Schade. Das war kein großer Wurf, @hr. Es verdirbt mir die Einstimmung und den Nachklang. Bitte herausschneiden.
oh wie erstaunlich, wieviel bach in diesem stück ist. und man erkennt sehr deutlich den fundamentalen unterschied zwischen mozart und beethoven. mozart ist reinste musik, harmonien, können, aber man kann nichts anderes erwarten als das, musik in vollendung und könnte glauben, dass dies schon alles ist und war es damals wohl auch. anders bei beethoven. hinter allem, als motiv, finale, hintergründiges steht immer noch der anspruch! der anspruch etwas mehr zu meinen, als das gespielte. gerade in den konzerten nr. 4 und 5 findet man viel von der musikalität mozarts. dennoch fehlt diesen der gewaltige charakter der omnipotenten umarmung alles um bedeutung zitternden, dem beethoven ausdruck verliehen hat. bedeutend auch finde ich die völlige abwesenheit mozarts in schindlers biografie. danke fürs hochladen.
I am not fond of the conductor's style: Mozart played as Schumann (the end was even Wagnerian). The first note in the triplet with assertion, please! More delicatezza, less salsa. I commend Benjamin Northey (Sydney International Piano Competition 2016)
Von meinem Gefühl her würde ich sagen die Streicherbesetzung ist zu groß für Mozart. Und ich sehe einige noch ziemlich exzessiv Vibrato benutzen. Gehört sich auch nicht für diese Musik.
I'm no Mozart authority, but Piemontesi's performance here seems to capture the essence of this music, and his (as I heard it) note-perfect pianism with warmth and charm was a joy to hear. His Mozart has been described as "cool" and "literal"; I can subscribe to the latter assessment perhaps, but I believe these two attributes are, in Piemontesi's case, mutually exclusive. I look forward to hearing more from him. (His orchestral support was, by the way, also great!)
