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MOZART, Piotr Anderszewski, Sinfonia Varsovia

Piano Concerto No. 24 / Piano Concerto No. 21

Piotr Anderszewski - Mozart: Piano Concertos Nos. 21 & 24 Piano Concerto No. 24 in C minor, K. 491 01. I. Allegro (13:59) 02. II. Larghetto (7:54) 03. III. Allegretto (9:07) Piano Concerto No. 21 in C major (-Elvira Madigan-) K. 467 04. I. Allegro maestoso (14:33) 05. II. Andante (7:12) 06. III. Allegro vivace Assai (6:43)
  • Piotr Anderszewski - piano
  • Sinfonia Varsovia - orchestra

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Edycja audiofilska

Mozart Concerti K467 & K491 - BBC Music Magazine Wednesday 1 May 2002 This is playing of extraordinary sophistication and insight. In his hands these are nothing short of instrumental operas... A recording of exceptional distinction. Jeremy Siepmann Source: BBC Music Magazine Mozart Concerti K467 & K491 - Le Monde de la Musique Friday 1 March 2002 ... the young Piotr Anderszewski brings substantially new ideas to the interpretation of the Concerto in C minor K491. Directing from the keyboard, Anderszewski combines an incisive, aristocratic and virtuosic style with subtly-nuanced playing that is both intense and spacious, controlled and free, colourful and tragic, immensely detailed and buoyed up by a natural and almost improvisatory spirit. When there is enlightenment to be found in this heady (though never unrelenting) approach, it is often the piano which reveals it... The solo line and orchestral ensemble are just as imaginative in a visionary performance of the Concerto in C Major K467 in which Anderszewski, while emphasising the larger lines (the first movement is wonderful), takes us to the heart of Mozart's mystery as few others have. Patrick Szersnovicz Source: Le Monde de la Musique Mozart Concerti K467 & K491 - The Guardian Friday 15 February 2002 [A] beautifully polished and insightful pairing of familiar Mozart concertos. Anderszewski conducts the Sinfonia Varsovia from the keyboard - modern instruments suavely played, with the tempi measured, especially in the C minor Concerto. His playing makes dramatic use of the huge dynamic range he can obtain from a modern concert grand, too - the first solo entry in the C minor is like a whisper, and there remains a hint of introspection about his contributions. The cadenzas are Anderszewski's own and never outrageous or less than tasteful, and they really define the character of the whole disc, which contains both exquisitely shaped piano playing and carefully worked dialogues between the soloist and the orchestra. Source: The Guardian