Wolfgang Amadeus Mozart - Piano Concerto No. 19 in F major, K. 459 Pianist & Conductor: Hélène Grimaud Bavarian Radio Chamber Orchestra 0:00 - Allegro 11:58 - Allegretto 19:57 - Allegro assai
She has the Beethoven 4th concerto uploaded from 20ish years ago that broke my brain - it's like she is communing with both the composer then and the orchestra now...truly phenomenal, and such a gift to us. Thank you, Helene.
That is precisely why I don't like some current big-name pianists. I won't name names, but some of them seem more concerned with being perfect than finding joy in the music. Their performances bore me. And that ain't good music.
Ms. Grimaud's interpretation of this wonderful concerto is full of warmth and radiance . Talk about taking it to a higher level . And the orchestra is equally on par . Simply sublime !!
Ааах да! Бывают времена! В мечтах душаа моя летает Над родным болотом Лягушки жабы Комары Трясина мухи булькает метан пропан и сероводород Там всякой всячины нисчесть ещё там много чего есть Душа как лебедь рвётся из Балота внизу остались Кувшинки Лотосы Кубышки О статуя ,,СВАБОДЫ,, Лондо'н Европа Эфелева башня МОСКВА ПЕКИН Токио Аделаида КейпТауна ЮАР И Вот Она ВЕРШИНА ☮️ ! ДжамалунгмаЭверест КАЙЛАС средь облаков До Звёзд ,,рукой подать,,... Ооо! Неет! КИКИМАРЫ ! Вцепились! Ааа! Чуть ноогуу мне неоторвали! С Новым Годом!...
This recording and the Anda recording are the two best recordings of this particular concerto. This is a riddle of a concerto and the greatest challenge is putting life into the seemingly mundane strings of notes present throughout the first and third movements of the concerto.
@@RaineriHakkarainen What matters is the keyboard being able to harmonize and integrate with the orchestra and make melodic the abstract runs present throughout the 1st and 3rd movements. Lupu is a complete bore, which simply means he failed to grasp Mozart in this particular concerto...which might be his most difficult in bringing out a compelling performance.
@@hanwentian8096It's a musical style i'm which music is presented in imitation, with the different voices making different entries, following a complex structure in various sections. Among these, there's the subject, answer, coutersubject, coda etc. Now, a double fugue means there's a double entry at certain moments in the composition.
Modo Mozart , hoy 26 de enero 2018 , a un día de celebrar el cumpleaños del más grande genio de todos los tiempos . Hélène Grimaud divina . Viva Mozart !!
Жизнь пронесё'тся как одно' мгнове'нье Её цени', в ней че'рпай наслажде'ние. Как проведё'шь её - так и пройдё'т Не забыва'й: она твоё творе'ние... (от части всё ж ?...) ОмарХайям
The excellent pianist and very beautiful Helene Grimaud conducts from the piano the Bavarian Radio Chamber Orchestra Mozart's wonderful No 19 F major K. 459 concerto for piano and orchestra. Mozart wrote this wonderful very beautiful concerto in F in 1784 for himself. At the time when this concerto was written Mozart was a very successful pianist and composer in Vienna. He performed at public concerts in which he performed at the piano his own concertos in paid subscription concerts. This was a custom that Mozart pioneered in Vienna. Mozart was the first independent artist that survived with his art this way. Beethoven would follow in his footsteps much more successfully years later. At Mozart's time musicians were mostly employed by rich noblemen. For example Mozart's friend Franz Joseph Haydn was the court composer of Count Eszterhazy for most of his long and very distinguished life. Mozart too started this way employed by the Archbishop of Salzburg. Unfortunately for Mozart, the archbishop that was so benevolent to the Mozart family died, and the new archbishop, archbishop Colloredo, ( en.wikipedia.org/wiki/Hieronymus_von_Colloredo_(1732%E2%80%931812 ) was a tyrant that treated Mozart as a servant and with great disdain. Colloredo would hardly be remembered today if it were not for Mozart. He was a pompous idiot, a nobody really, but moneyed and powerful in his own time. Colloredo made Mozart's life so intolerable that the young genius musician decided to try his luck on his own without the protection of any nobleman in Vienna. He initially succeeded beyond his wildest dreams. He was successful and made a lot of money as well. But Mozart unfortunately was never frugal, and did not save money. Unfortunately he spent as much as he made. Later in life, when he could have used savings from the successful years that he never saved, he had to struggle in great financial distress. The fickle and vain Viennese eventually tired of Mozart, this greatest of composers and abandoned him to his fate. Once the lean years started, Mozart was in great financial difficulties. He died in abject poverty in 1791 at the tender age of 35. It is truly a shame that this greatest of men, without doubt the deepest and best composer that ever lived was buried in a ' indigent's grave. There are statues of Mozart all over Austria, that today celebrate this greatest of Austria's sons. But in his lifetime, Austria treated Mozart with unpardonable neglect, and let this marvelous greatest of genius composers beg for money from his Free Mason friends. The Salzburg Festival that performs yearly mostly Mozart's works makes more money in one year than what would have sustained Mozart and his family for his entire life. Perhaps it is the price of immortality that many of the greatest artists of all time had to struggle in poverty, like Mozart, Schubert or Van Gogh.
Dear Istvan: Many thanks for your excellent, long-needed comment. It is the most damning possible statement on humankind, that our two greatest composers died so young. I'm 76 and only a week ago for the first time heard Schubert's Symphony #9 conducted by W Sawallisch for the first time. I was shaken by his magisterial interpretation: before this I thought Furtwängler's was the best, but we now have a new benchmark.
+Carey Coleman DIE WELT Klassik inszenierung von Axel Brüggemann Das Haus des Buches in Dresden ist ein sehr aufgeräumter Laden. ... Hier erklärt die Belletristik - Buchhändlerin: "Ja, die Grimoud, die finden Sie in der Biologie, sie ist doch eine Wolfsforscherin." ... Die Odyssee im Dresdner Haus des Buches verrät viel über den Wandel der Klassik. Vorbei die Zeit, in der ein Musiker allein durch seine Interpretation des zweiten Satzes der Mondscheinsonate oder die exzentrische Analyse des "Wohltemperierten Klavieres" Erfolge feierte. Heute reicht es nicht einmal mehr, nur schön zu sein. ... Inzwischen müssen die Jung - Stars aber noch mit einer Abenteuergeschichte hinter ihrer Hochglanzfassade aufwarten, um Beachtung in der auf Fortissimo gestimmten Klassik - Nische zu finden. Krankheiten, Affären und Sex sells. Also wird vor dem Singen, Streichen und Klimpern freimütig über Eßstörungen und Männerphantasien geplappert. Und davon, dass Wölfe und ungezähmte Frauen den gleichen Ruf hätten und gegen beide die gleiche feindselige Gewalt ausgeübt würde. ...Daß der Klassik - Zirkus wunderbare Bücher hervorbringen kann, hat die Krimi - Autorin Thea Dorn vorgemacht. In ihrem Roman "Ringkampf" karikiert sie Diven, Rivalen und Opern - Fetischisten. Villeicht findet sich jemand, der die nackte Tatsachen als Autobiographie erzählt. Das ganz normale Leben: ungeoutete Schwule, verknallte Intendanten, weltweite Netzwerke, die unter Hotelbettdecken geflochten werden. Diese Geschichte würde das Haus des Buches sicher als Belletristik in die Regale räumen - weil die Klassik der beste Roman ist.
On the full CD album, Erdmann sings an aria with piano and orchestra. There is no conductor; Hélène Grimaud directs the players of the Bavarian Radio Symphony Orchestra from the keyboard, as Mozart himself would have done when playing all his keyboard concertos.
ВСЁ ХАРАШО' ВСЕЛЕ'ННАЯ ВРАЩА'ЕТСЯ КАК НА'ДО НО НЕ ВСЕГДА'! УВЫ КАК БЫ' ХОТЕ'ЛОСЬ НАМ ВЕДЬ ЧАСТО МЫ КАК МА'ЛЕНЬКИЕ ДЕ'ТИ АРЁ'М В СЛЕЗА'Х ,,ОТДАА'Й ! ЗАПРЕ'ТНЫЙ ПЛОД. МОЙ СЛА'ДКИиИиЙ,,!
Гляжу в глаза Вам Дыхаханье затаив. Рифмы плести пытаюсь ь будто Цветик от которого Приветик Учителям маститым благодарен. Без них пока что никуда. Незнайкой чувствую себя. Прямо беда. Не хватает мне ума. Но как у врунгеля
Sigo pensando que no tiene comparación posible con Clara Haskil. Ni punto de comparación. Haskil me suena a Mozart Grimaud no se exactamente a que carallo me suena.
At last someone who understands the lack of melodic invention, sense of drama, orchestral timbre, counterpoint and general creativity in that little shrewd manipulator of a salesman that was Mozart . Bravo Sir . If only more people had a brain filled with horse manure more people would turn to You for cultural advice.
