Mozart: Piano Concertos Schiff

Daniel Barenboim, Andras Schiff, Sir Georg Solti, English CO - Mozart: Piano Concertos K 242, 365, 466 (1990) Reissue 2006

Wolfgang Amadeus Mozart: Concerto for Two Pianos in E-flat, K. 365;
Concerto for Three Pianos in F, K. 242; Piano Concerto No. 20 in D minor, K466
Sir Georg Solti, piano & conducted; English Chamber Orchestra
Daniel Barenboim, piano; András Schiff, piano

EAC | FLAC | Image (Cue&Log) ~ 300 Mb | Mp3 (CBR320) ~ 195 Mb | Scans included
Genre: Classical | Label: Decca/Universal | # 476 2451 | Time: 01:18:16

Involving, as it does, three master musicians and a fine chamber orchestra this was never likely to be be other than rewarding. It may not correspond with the ways of playing Mozart at the beginning of the twenty-first century which are fashionable at the beginning of the twenty-first century, but it has virtues – such as high intelligence, sympathy, certainty of purpose, grace, alertness of interplay – which transcend questions of performance practice. Looking at the names of the pianists above, we might be surprised by the presence of Sir Georg Solti, so used are we to thinking of him as a conductor. But the young Solti appeared in public as a pianist from the age of twelve and went on to study piano in Budapest, with Dohnányi and Bartok.
Piotr Anderszewski - Mozart: Piano Concertos Nos. 25 & 27 (2018) {Warner Classics}

Piotr Anderszewski - Mozart: Piano Concertos Nos. 25 & 27 (2018) {Warner Classics}
EAC 1.3 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 256MB + 5% Recovery
MP3 CBR 320 Kbps | 167MB + 5% Recovery
Genre: Classical

This pairing of concertos Nos 25 and 27, recorded with Chamber Orchestra of Europe, is Piotr Anderszewski’s third Warner Classics album of Mozart concertos. “In Mozart I tend to prefer to direct from the keyboard,” he explains, “His concertos are like chamber works … The piano is in dialogue with the orchestra, conversing and interacting all the time. The two works are very different… No 25 is very grand, complex and sophisticated; No 27, Mozart’s final piano concerto, is in a major key, but underneath it I sense an incredible sadness… It always amazes me how deep this music is.”
Alon Goldstein, Fine Arts Quartet - Mozart: Piano Concertos 20 & 21 (2015/2017) [Official Digital Download 24-bit/192kHz]

Alon Goldstein, Fine Arts Quartet - Mozart: Piano Concertos Nos. 20 & 21 (2015/2017)
FLAC (tracks) 24-bit/192 kHz | Time - 57:51 minutes | 1,96 GB
2xHD Studio Master, Official Digital Download | Artwork: Digital booklet

Pianist Alon Goldstein is joined by American chamber music ensemble the Fine Arts Quartet and special guest Rachel Calin on double bass for the world premiere recordings of these chamber versions of two of Mozart’s greatest and most popular piano concertos. To make the two works more accessible to the public, 19th century composer Ignaz Lachner left the piano parts untouched and wrote splendid string quartet transcriptions of the orchestra parts with added bass. These arrangements sound almost as natural as if Mozart had transcribed them himself.
Lars Vogt - Mozart: Piano Concertos No. 21 & No. 27 (2013) [Official Digital Download]

Lars Vogt - Mozart: Piano Concertos No. 21 & No. 27 (2013)
FLAC (tracks) 24-bit/44.1 kHz | Time - 50:35 minutes | 513 MB
Studio Master, Official Digital Download | Artwork: Front Cover

Vienna 1785: „Wolfgang Amadeus would compose in his workroom and music seemed to flow from his pen. Soon he would write the opera Le Nozze di Figaro in these same quarters. He had just put the finishing touches on a new piano concerto: festive C Major, luxurious scoring including trumpets and timpani (K467). It was premièred on 12 March 1785 during one of the so-called “academy” concerts.
Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 21 & 23 (1983)

Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 21 & 23 (1983)
EAC | FLAC (image+.cue, log) | Covers Included | 59:24 | 243 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 410 068-2

The partnership of Serkin and Abbado in Mozart is a fascinating one. They are such different musical personalities, yet they work remarkably well together, so that each performance becomes an artistic amalgam of two quite different artistic approaches. Abbado matches a natural spontaneous warmth (listen to the beguiling way the orchestra shapes the secondary theme in the first movement of the A major Concerto) with the utmost refinement of detail; whereas Serkin, patrician, authoritative, strong, is more selfconsciously expressive when he deviates from a strictly rhythmic presentation of the melodic line in the same movement.
Hai-Kyung Suh - Mozart: Piano Concertos Nos. 19, 20, 21 & 23 (2016) [Official Digital Download 24/96]

Hai-Kyung Suh - Mozart: Piano Concertos Nos. 19, 20, 21 & 23 (2016)
FLAC (tracks) 24-bit/96 kHz | Time - 119:50 minutes | 2.05 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Hai-Kyung Suh dazzled the international music scene by winning the prestigious Busoni International Competition as a teen-ager. Her New York recital debut at Alice Tully Hall five years later was hailed byThe New York Times as "a propulsive and exciting performance, built block by sonic block with the structual command of a musical architect."
Chamber Orchestra of Europe & Piotr Anderszewski - Mozart: Piano Concertos Nos. 25 & 27 (2018) [ 24/96]

Chamber Orchestra of Europe & Piotr Anderszewski - Mozart: Piano Concertos Nos. 25 & 27 (2018)
FLAC (tracks) 24-bit/96 kHz | Time - 63:21 minutes | 1.16 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet

This pairing of concertos Nos 25 and 27, recorded with Chamber Orchestra of Europe, is Piotr Anderszewski’s third Warner Classics album of Mozart concertos. “In Mozart I tend to prefer to direct from the keyboard,” he explains, “His concertos are like chamber works…The piano is in dialogue with the orchestra, conversing and interacting all the time. The two works are very different …No 25 is very grand, complex and sophisticated; No 27, Mozart’s final piano concerto, is in a major key, but underneath it I sense an incredible sadness … It always amazes me how deep this music is.”"
Edwin Fischer - Mozart: Piano Concertos - The Complete Studio Recordings (1933-1947) (3CD Box Set)

Edwin Fischer - Mozart: Piano Concertos - The Complete Studio Recordings (1933-1947) (3CD Box Set)
EAC Rip | FLAC (tracks+.cue, log) | Artwork | 671 mb | MP3 CBR 320kbps | 03:41:52 | 511 mb
Classical, Piano | Label: APR / APR 7303

This three-disc set of all of the studio recordings of Mozart's piano concertos and sonatas made by German pianist Edwin Fischer between 1933-1947 may elicit different responses from his fans than from listeners not already persuaded of his greatness.
Mitsuko Uchida, The Cleveland Orchestra - Mozart: Piano Concertos Nos. 17 & 25 (2016)

Mitsuko Uchida, The Cleveland Orchestra - Mozart: Piano Concertos Nos. 17 & 25 (2016)
EAC | FLAC (image+.cue, log) | Covers Included | 67:23 | 264 MB
Genre: Classical | Label: Decca | Catalog: B002571602

For her fifth live recording of Wolfgang Amadeus Mozart's piano concertos with the Cleveland Orchestra, Mitsuko Uchida presents the Piano Concerto No. 17 in G major, K 453, and the Piano Concerto No. 25 in C major, K 503, a delightful pairing that reflects her previous albums in this critically acclaimed series on Decca.
Maria Joao Pires, Orchestra Mozart; Claudio Abbado - W.A. Mozart: Piano Concertos Nos. 20 & 27 (2012) [Repost]

Wolfgang Amadeus Mozart: Piano Concertos Nos. 20 & 27 (2012)
Maria João Pires, piano; Orchestra Mozart; Claudio Abbado, conductor

EAC | FLAC | Image (Cue&Log) ~ 252 Mb | Mp3 (CBR320) ~ 174 Mb | Scans included
Genre: Classical | Label: Deutsche Grammophon | # 479 0075 GH | Time: 01:00:14

It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.