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Mozart: Piano Concertos Nos.20,23,24,26 & 27 (2 CDs)

Mozart: Piano Concertos Nos.20,23,24,26 & 27 (2 CDs)

1 janvier 2001
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Détails sur le produit

  • Date de sortie d'origine : 1 janvier 2001
  • Date de sortie: 24 juin 2002
  • Nombre de disques: 2
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 2001 Decca Music Group Limited
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Format: CD
Clifford Curzon (1907-1982) demeure un des plus grands mozartiens du XX° Siècle, se montrant presque toujours insatisfait de ses séances d'enregistrement (qu'il considérait comme des « rendez-vous avec la postérité ») et les actualisant tout au long de sa carrière.

Sa discographie compte ainsi quatre moutures successives du 23° Concerto, la première accompagnée par Boyd Neel en 1945.
Fin 1967, quatre Concertos furent gravés au Kingsway Hall sous la baguette d'Istvan Kertesez, dont trois figurent sur le présent album.
Remarquable interprète des Symphonies (avec les Wiener Philharmoniker, pour Decca), le maestro hongrois s'ingénie à faire saillir des détails instrumentaux qui relancent l'activité dramatique de ces opus : notez la cambrure des violoncelles gainant le Finale du K.488, où basson et flûte s'insinuent comme des personnages de théâtre. Et ce rehaut de cors pour conclure : magistral.
Et dans l'Allegro du tragique K.491 (à 10'49) : cette vertigineuse irruption des violons en trémolo qui paroxysmise la tension !
Pour le « Krönungskonzert », l'apparat du London Symphony ne distrait pas le soliste qui tempère une troublante intériorité : inhabituelle approche qu'on écoute avec intérêt.

Un K.
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4 commentaires 8 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: 4.9 étoiles sur 5 14 commentaires
23 internautes sur 23 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great straightforward Mozart 29 novembre 2007
Par Paul S. - Publié sur Amazon.com
Format: CD
These recordings predate today's fads of inserting lots of flashy embellishments, inventing new (usually prolix) cadenzas, imitating the limitations of a pianoforte, accellerating tempi, and producing sparkling Mozart Lite. All Curzon delivers is outstanding playing with plenty of feeling but no fussiness. Curzon knew better than most musicians how to play slow music so it comes across as deep rather than boring, so he doesn't rush the slow movements as so many performers do. He plays the usual Beethoven cadenzas in #20.

All 5 performances are polished to perfection; and the recorded sound, while not state of the art, is very good for its time (1967 - 1970). I respectfully disagree with the reviewer who finds the piano too faint; if anything, the widespread vice of making the solo instrument too prominent in concerto recordings has been rather narrowly avoided.

So don't buy this set to revolutionize your view of Mozart. Buy it for great playing, full of delightful subtleties.
32 internautes sur 34 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great recordings 27 mai 2002
Par Un client - Publié sur Amazon.com
Format: CD
Decca has wisely chosen Curzon's recordings of these Mozart concertos for reissue in their "Legends" series. Nos. 20 and 27 with Britten and the English Chamber Orchestra are absolutely classic, nos. 23 and 24 with Kertesz and the London Symphony hardly less so. Curzon was at his best in Mozart. His playing is stylish, elegant, and expressive within the context of Mozart's period, without exaggeration or idiosyncrasy. The sound is excellent and has been successfully remastered. The only snag is that no. 26 is split between the two CDs, but since this is the least popular of these concertos anyway this probably won't matter all that much. Highly recommended, and a tremendous bargain at this price (I paid almost this much a few years back just for these recordings of concertos nos. 20 and 27!).
18 internautes sur 19 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A treasured musical file! 11 octobre 2005
Par Hiram Gòmez Pardo Venezuela - Publié sur Amazon.com
Format: CD
The whole story of the composers-conductors have not been written may be well considered unfinished if the name of Britten is not included. His approach in what Mozart concerns is a fact worthy of the best and sincere epithets. He added these Piano Concerts not only elegance, cram, noblesse but also aristocracy and refinement.

So when the imaginative melodic flight of Britten converges with the wisdom innocence of Sir Clifford Curzon -one of the few artists who "made sing" the piano- (Wilhelm Kempff was the genuine master in this field), the result is a true enraptured and inspired Mozart, because as the Great Genius, Mozart 's significance is major by what suggests instead by the expressed.

I should remark the special relevance of this CD because both works mean somehow, the alpha and omega of the best set of Concerts of Wolfgang Amadeus: the 20th is to my mind, the most complete and profound of all Mozart piano Concertos. It possesses humor, innocence, tragedy and redemption; all the mythic cycle expressed in thirty minutes.

"The brevity is the soul of the cleverness"

Absolutely recommended.
8 internautes sur 8 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Two very different kinds of performances 27 mai 2013
Par Jurgen Lawrenz - Publié sur Amazon.com
Format: CD
I have no hesitation acknowledging that Curzon and Britten are a formidable team. Their Mozart no. 20 is a truly dramatic account, full of the tragedy and grief that this score asks for. Despite the chamber orchestra backing, Britten's urgency and flair produce a sound here that makes no-one miss the larger orchestra which indeed the recording suggests. I can think of perhaps two or three other recordings in this class, but none that is better.
The competition in No. 27 is closer, mainly because of Gilels' magical account on DG with its autumnal colours perfectly realised. But Curzon and Britten match this standard, and a collector hardly needs any more assurance that this that Curzon's Mozart belong among the most eloquent and refined in the business.
However, the story is regretfully somewhat different with No. 23 and 24. These recordings clash inevitably head-on against one of the truly miraculous performances ever made in a recording studio. This is Kempff and Leitner with the Bamberg Symphony for DG, just a couple of years earlier. Far be it from me to call that recording "definitive", it would be a contradiction in terms. But "miraculous" meets the situation well. Kempff plays the work with such ease, grace and perfection that one can hardly think of a bar that is not infused with the authentic Mozartean spirit. It is music making of the rarest calibre, utterly natural and eschewing all point making. The fact that modern instruments were used has no bearing on the matter. The playing is so commanding, and the orchestral contribution so discretely attuned to the style that questions of style become irrelevancies. Moreover, the wide apart moods of the concertos are caught with consummate mastery, no. 23 inimitably songful and buoyant, no. 24 stern and tragic; and as far as the slow movement of the latter is concerned, I have yet to hear another pianist who can "speak" on the piano with the same unaffected, yet deeply touching simplicity.
Such gifts are too rare to expect them even once, let alone twice. Curzon is a fine and understanding Mozartean. He commands a pearly delivery that leaves little to be desired. But the ultimate Mozartean simplicity escapes him - as indeed it does the conductor who shows a tendency to press matters, to squeeze more dramatic juice out of the score than a pre-Beethoven score could or should. Compare the opening of no. 24: Here Leitner finds the perfect balance for the emotional menace that is held in check by the classical form, but would create turbulence in a romantic score. Kertesz, however, creates a highly charged atmosphere with powerful gestures - looking far ahead to Beethoven and almost leaving the pianist's entry as an anticlimactic moment (in the sense that the pianist now has to build up momentum a second time). In no. 23 one could hardly accuse Kertesz of being overly songful or gracious. In contrast, Curzon does his best in that regard, and his delightful scales and sensitive handling of the reflective episode make one wish that he could have found a more congenial partner - one who might have been genuinely attuned to his Mozartean manner. As it is the album has to yield first place, though it is by no means an account that falls below a high level of excellence. But the absence of magic tells in the long run. When it is there for the asking from Kempff, it is difficult to rouse greater enthusiasm than this.
Nevertheless, bearing in mind the overall quality of this album, it can be recommended without hesitation.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Mozart pianism at its finest 1 janvier 2010
Par Ivor E. Zetler - Publié sur Amazon.com
Format: CD
Clifford Curzon was a very reluctant recording artist. In his limited discography, I can think of no performance that is less than first rate. Amongst all the composers that he performed, it is Mozart and Schubert that found him at his most sympathetic. These composers suited his understated, sensitive and unflashy personality.

What a treasure chest this reissue is; five late Mozart Piano Concerti at a reduced price. Curzon is on top form and his performances approach perfection. It all sounds so easy, natural, authentic and unforced. But that is one of the hallmarks of greatness; to make the difficult sound easy. Curzon is fortunate to have one great (Britten) and one very good (Kertesz) conductor as accompanists. The vintage Decca sound is an additional bonus. Indispensable.
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