Mozart: Piano Concerto No. 20 in D minor, K466, etc.

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Brendel's conception of Mozart's two minorkey concertos has altered in countless nuances and emphases but little in fundamentals since his 1973 Philips recordings with Marriner. His sensibility,... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4626222
Label: Philips
Length: 60 minutes

Wolfgang Amadeus Mozart, Alfred Brendel: Piano Concerto No.20 in D minor, K.466

Work length30:26

$2.55

$3.45

Alfred Brendel (piano), Alfred Brendel (cadenzor)
Scottish Chamber Orchestra
Sir Charles Mackerras
Recorded: 1998-03
Recording Venue: Usher Hall, Edinburgh

1. Allegro

Track length14:14

$0.85

$1.15

2. Romance

Track length8:44

$0.85

$1.15

3. Rondo (Allegro assai)

Track length7:28

$0.85

$1.15

Wolfgang Amadeus Mozart, Alfred Brendel: Piano Concerto No.24 in C minor, K.491

Work length29:51

$2.55

$3.45

Alfred Brendel (piano), Alfred Brendel (cadenzor)
Scottish Chamber Orchestra
Sir Charles Mackerras
Recorded: 1998-03
Recording Venue: Usher Hall, Edinburgh

1. (Allegro)

Track length13:35

$0.85

$1.15

2. Larghetto

Track length7:08

$0.85

$1.15

3. (Allegretto)

Track length9:08

$0.85

$1.15

Reviews
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Reviews

2010

Brendel's conception of Mozart's two minorkey concertos has altered in countless nuances and emphases but little in fundamentals since his 1973 Philips recordings with Marriner. His sensibility, pianistic refinement and sheer questing intelligence remain as compelling as ever. Neither performance will entirely please those who favour a barnstorming approach.
More than in 1973, Brendel is at times concerned to draw out the music's elegiac resignation than to highlight its more obvious passion and turbulence. But more than most pianists he constantly illuminates the smaller and larger shapes of the music with his range of colour and dynamics. In both opening movements, for instance, he brings a speaking eloquence to the piano's initial solo theme and then in the development finds a subtly altered tone of voice, in response to the gradually darkening musical landscape, for each of its reappearances.
Another Brendel hallmark is his variety of tone and articulation in rapid passagework, which is purposefully directed in accordance with its place in the overall scheme. Again he provides apt and spontaneous-sounding embellishments and 'in-filling' at fermatas, this time allowing himself greater freedom in decorating the spare lines of the slow movements; again, he uses his own cadenzas in both concertos, more adventurous in their thematic development than any of Mozart's own surviving examples.
In the opening tutti of K491 one can hear the extra character Mackerras brings to the music compared to Marriner – the impact of raw, louring brass (tamed by Marriner) at strategic moments, for instance, or his attentive shaping of inner strands to enhance the tension. The recording has an attractive spaciousness and ambient warmth, though in K491 the keyboard occasionally obscures important thematic ideas on oboes, clarinets and bassoons.

Mozart: Piano Concerto No. 20 in D minor, K466, etc.

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