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Mozart: Piano Concertos K. 413 & K. 415

Alexander Schimpf, Bayerische Kammerphilharmonie

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Piano Concerto No. 11 in F Major, K. 413  
1.1
I. Allegro
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
9:41
1.2
II. Larghetto
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
7:15
1.3
III. Tempo di Menuetto
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
5:12
Piano Concerto No. 12 in A Major, K. 414  
1.4
I. Allegro
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
11:02
1.5
II. Andante
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
8:23
1.6
III. Rondeau. Allegretto
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
6:49
Piano Concerto No. 13 in C Major, K. 415  
1.7
I. Allegro
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
10:45
1.8
II. Andante
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
7:35
1.9
III. Rondeau. Allegro - Adagio - Allegro
Wolfgang Amadeus Mozart; Alexander Schimpf; Bayerische Kammerphilharmonie
7:46
Digital Booklet
Total Playing Time    74:28
Mozart's music poses special challenges to performers, and they have often been pointed out. As it would seem, certain fundamental tensions or contradictions inherent in music making are taken to extremes: many works by Mozart require that the instrumental process and conditions responsible for producing the sound should retreat into the background in favour of the musical result as we hear it.

No expenditure of energy should be noted or heard. Fine, precise timing adjustments should never sound organized or deliberate. This music should ideally be presented as something that emerges entirely naturally, of its own accord. All the mental and technical effort in the background should be eliminated from the forefront of perception. Otherwise, the typically 'floating' Mozartian natural effect, that magical inner balance, cannot emerge

On this recording the version specifically authorized by Mozart was used: eschewing additional wind parts. Although the wind parts composed by Mozart for these concertos can indeed provide some color, they do not have anything essential or indispensable to add in terms of musical substance.
96 kHz / 24-bit PCM – CAvi-music Studio Masters

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