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Mozart: Piano Concertos Nos.17 & 21

Mozart: Piano Concertos Nos.17 & 21

1. Januar 1995
5.0 von 5 Sternen 2 Kundenrezensionen

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Produktinformation

  • Ursprüngliches Erscheinungsdatum : 1. Januar 1995
  • Erscheinungstermin: 30. Oktober 1995
  • Label: Deutsche Grammophon (DG)
  • Copyright: ℗© 1995 Deutsche Grammophon GmbH, Berlin
  • Erforderliche Metadaten des Labels: Musik-Datei enthält eindeutiges Kauf-Identifikationsmerkmal. Weitere Informationen.
  • Gesamtlänge: 56:18
  • Genres:
  • ASIN: B001SSKGRU
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen 2 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 72.950 in Alben (Siehe Top 100 in Alben)

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Von Reineke am 29. September 2014
Format: Audio CD Verifizierter Kauf
Diese Aufnahme kaufte ich mehr aus einer Laune heraus, zu viele Mozartkonzerte stehen bereits im Regal (Brendel, Casadesus, Richter u.a.). Aber die Gesamtaufnahme der Klaviersonaten Mozarts mit der Pires auf Deutsche Grammophon, die ich über alles stelle, machte mich neugierig auf einige Konzertaufnahmen mir dieser großartigen Pianistin. Und ich bin beeindruckt, begeistert, fasziniert. Selten habe ich ein solch kongeniales Zusammenspiel gehört zwischen Interpret und Begleitung. Die Pires bezaubert mit ihrem kernig-klaren Anschlag. Ihre unerschöpfliche Phrasierungs- und Artikulationskunst verleihen der Musik Plastizität und Leichtigkeit bei gleichzeitiger Tiefenauslotung der Verläufe. Kleinste Details erhalten diamantenen Schliff und die atmosphärischen Stimmungen besonders in den langsamen Sätzen beider Konzerte sind von suggestiver Wirkung, dies trotz zügiger Tempi. Das Chamber Orchestra spielt filigran, konturenscharf, mit leuchtenden Kantilenen (wunderbares Bläserspiel) und Abbado zeigt eine geradezu mit den Händen greifbare Sensibilität für diese großartige Musik.
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Format: Audio CD Verifizierter Kauf
ich hatte diese Aufnahme bereits und habe sie gleich storniert.
Natürlich ist Frau Pires eine Mozart-Interpretin die man immer und mit jedem Werk dieses großen Komponisten gerne hört.
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Amazon.com: 4.0 von 5 Sternen 7 Rezensionen
5.0 von 5 Sternen distinctive and energetic 13. April 2013
Von Stanley Crowe - Veröffentlicht auf Amazon.com
Format: Audio CD
I had to cut down the volume on my headphones just a bit (from 62 to 56 on my Bose) to tame some brightness at the top of the piano and winds, but that did the trick, and the sound was great at the slightly lower volume. And it was worth doing so, for these are genuinely distinctive performances. I love the recordings of number 21 by Casadesus and Kovacevich, and one wouldn't want to complain about the orchestral contribution in either (with Szell and Davis respectively), but Abbado seems to be working symbiotically with his soloist Maria Joao Pires in these performances, and with the recording catching an ideal balance between them, the effect is of inspired and inspiriting chamber music. I should know by now that Abbado is a great accompanist (cf. Ravel with Argerich in the '60's and Tchaikovsky with Argerich in the '80's) but I still wasn't prepared for the degree of cooperation here. In number 21, there is also the interest of hearing Serkin's cadenzas, marvelously dispatched by Pires, and the famous second movement is not sentimentalized but taken at a good clip -- 90 seconds faster than Kovacevich and Casadesus -- with no loss of feeling and with a stunning combination of elegance and energy. The finale is cheeky and lively, and throughout, the interplay of the piano with the winds especially is magical. Number 17 is well-played too, and evinces the same qualities of fine interaction between soloist and orchestra. This is a recording of a live performance, and the sound might be a tad less airy, but nothing is missed. So -- even if you have other recordings, consider adding this one. It's a beauty.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Masterful Mozart From Pires, Abbado, and the C.O.E. 12. August 2011
Von Erik North - Veröffentlicht auf Amazon.com
Format: Audio CD
If Mozart didn't necessarily invent the piano concerto form, he most certainly elevated it to its greatest prominence in the classical music genre with the twenty-seven works he did inside of it. Many of them have now been staples in the repertoire of every pianist worth their salt for over two centuries, having set the stage for, among others, Chopin's two spectacular entries, and Beethoven's five pieces. Some of those concertos of Mozart's, however, for various reasons, can sometimes be somewhat neglected among others in the set, particularly the final eight (20-27). One of those somewhat neglected concertos is featured on this recording by Portuguese-born pianist Maria Joao Pires, and the Chamber Orchestra of Europe under the direction of Claudio Abbado.

The 17th Piano Concerto, a composition of the year 1784, is sometimes dismissed as not being very grand because of its light orchestration and because it is in the key of G Major (the only other Mozart piano concerto that shares this key is the very early No. 4). In the hands of Ms. Pires, however, this 1993 recording of it makes it an extremely attractive work, very much on a par with the later one that Alfred Brendel did with Sir Charles Mackerras and the Scottish Chamber Orchestra. Abbado and the C.O.E. are also in good shape here in assistance.

And then there is, of course, the 21st Piano Concerto, the one in C Major which is book ended by two hugely vivid sections (with trumpets and timpani), but whose middle movement, the F Major Andante, is forever associated in people's minds with the 1967 Swedish romantic movie ELVIRA MADIGAN, hence the nickname that has been attached to this work for all these years. On a somewhat larger scale, once again Pires and Abbado make for great collaborators; and the C.O.E. must rank as one of the finest of its type under Abbado's precise direction. Robert Casadesus' 1961 recording of this concerto, with George Szell and the Cleveland Orchestra, is still considered the benchmark recording for this ultra-popular work, but this recording is very close to that one in performance and recording quality.

It isn't hard to recommend this pairing of two different piano concertos from the same young genius who left this world far too soon. Anyone who loves Mozart really should try this recording out for themselves.
12 von 13 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Definitive G-Major; very fine C-Major 9. November 2000
Von The Man in the Hathaway Shirt - Veröffentlicht auf Amazon.com
Format: Audio CD
This is the first Pires recording I've ever heard, but it's not my first encounter with Mozart's K. 453. I've never found a recording until now that fully brought out all that I felt was there--I always walked away from a performance feeling there was more to this music than I was hearing. This is in a sense Romanticism in very early bloom, and in some ways the forerunner to such works as Beethoven's own magnificent and peerless G Major concerto. I hate to sound like I'm spewing hyperbole, but simply put this is the greatest recording of this concerto I have *ever* heard. It opened the work for me. (I was beginning to think this was one of those pieces with no satisfactory reading, such as with the Beethoven Ninth and the Mahler Seventh.) Pires and Abbado breathe as one, and "breathe" is the key word. This work is very hard to characterize emotionally, but it sighs and it sings enigmatically. Surprisingly, so many performances are very straightforward, never capturing these soulful, longing qualities that almost approach reverie at times. Not so this time. The interplay here is amazing, Pires' delicate approach is ideal for this music, and the conducting is elastic in that "Furtwanglerian" way. But don't get the impression this is bloated, Romantic Mozart...it's not. (Maybe Furtwangler wasn't the right name to evoke after all. Actually, no name is the right name to evoke. It's a unique statement, but what it shares in common with WF is the realization that certain sections breathe best at certain tempi, and the intellectual rigor and understanding to relate the different tempi and tensions organically to the whole, which Furtwangler had at his best.) Simply put, order this disc. It's from a live performance (though there's no trace of audience noise; DGs engineers are miracle-workers) and it has that special electricity and that feeling of an event that only a great live recording has. The accompanying concerto, the famous No. 21 in C, is a fine (studio) reading, but it is not quite at the top of the heap. The energy level isn't quite there...maybe the lack of a live setting makes a difference. At any rate, while fine, it still won't displace several of my other favorites, including the exquisitely polished Brendel/Marriner. But this disc is definitely worth owning, and would make it to my desert island in a heartbeat.
22 von 25 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Incredible Perfection !!! 4. November 2001
Von A. KONG - Veröffentlicht auf Amazon.com
Format: Audio CD
I am an amateur pianist who has been studying classical music for over 15 years. I deeply enjoy and admire Mozart's works. To me, he is the greatest genius that ever existed on Earth. I have been studying piano concerto #21 for a few months, and have purchased many different recordings by the most renowned performers (more than 10) during this time.
If you are planning on getting this piano concerto, believe me, this is THE recording you MUST buy. I currently own more than 500 classical music CDs and this one is definitely on the top 1% of the list - it is a genuine jewel.
The things that I particularly like about this recording is: Sound quality is excellent; Maestro Rudolf Serkin's cadenzas performed here by Mrs. Pires are the most beautiful I have ever heard for this concert; and the Chamber Orchestra of Europe under Claudio Abbado sounds extremely rich, very well balanced.
To those of you who are not familiar with Mrs. Pires, let me assure you that she is an excellent interpreter of the works of Mozart, Chopin and Bach, among others. To me, she is among the very best. As I see it, her hands are a true gift from God to humanity. Mozart would definitely be more than pleased with this performance!
Piano Concerto #17 performance was very well described in the review below. Being a live recording it has an exceptional merit. It is also exquisitely performed.
So... Get this recording! I assure you that you will not be disappointed!
7 von 8 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Powerful artistic conviction! 13. Juni 2008
Von Hiram Gòmez Pardo Venezuela - Veröffentlicht auf Amazon.com
Format: Audio CD
Joao Maria Pires is nowadays, the supreme female pianist in the sublime art of playing Mozart. Because although she is far from the superior vision of Clara Haskil, for instance, she plays with an artistic conviction that may be noticed from the first bar, her spiritual affinity has joined with an overriding goal to capture with mind and heart the essential nuances of the beloved Salzburg's son. It's not an easy fact she has achieved this envied place. There are superb and majuscule pianist all over the world, but the difference that makes the difference is the quality of sound, between incorporeal and evanescent that remarks the sumptuous lyricism we always find in Mozart.

This successful meeting between Pires and Abbado has allowed us to appreciate that majestic vitality, radiant intonation and athletic fingering some of her most important qualities.
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