Fortepiano: Malcolm Bilson Conductor: John Eliot Gardiner (with English Baroque Soloists)
Пікірлер: 36
@simonperry571511 жыл бұрын
i'd fprgotten how good Bilson is in these recordings. Great simplicity but also very nuanced.
@kiren31685 жыл бұрын
THE BEST RECORDING OF ALL MOZART CONCERTOS
@posamsaso5 жыл бұрын
One of the most beautifully-composed piano concerto of Mozart! bravo!
@amadeuswolfe71804 жыл бұрын
Yes it is one of my fav is now #26 please listen
@sebavien666 Жыл бұрын
I think No.17 is the best Mozart's piano concertos. And this Malcolm Bilson's performance is the most wonderful. The first movement is fantastic, like the sound of bubbles in the sea.
@elevatorsofchicagolandandb9216 жыл бұрын
11:30 II. Andante 22:01 III. Allegretto; Presto
@DanieleSRD11 жыл бұрын
Meraviglia assoluta. Interpretazione bellissima!
@patrickjohn8411 жыл бұрын
I love the English Baroque Soloists! I just bought the complete Mozart piano concerto album on itunes. Great investment for anyone interested!
@41graca11 жыл бұрын
Maravilhoso!! Como dizemos em Portuguese. Wonderful both music and interpretation. Obrigada! Thank you !
@nikitaigorevich43562 жыл бұрын
I Allegro - 0:00 II Andante - 11:29 III Allegretto - 22:00
@flayuhat6 жыл бұрын
I. Allegro - 0:01 II. Andante - 11:30 III. Allegretto - 22:01
@VernonVince11 жыл бұрын
"Meraviglioso! Bravo!" We say in Italian.
@louisalevine37114 жыл бұрын
Minunat! We say in Romanian.
@Verticaldiscourse Жыл бұрын
Geweldig! As we say in Ertvelde.
@nepiaprimary27447 жыл бұрын
Amazingly amazing
@thanksspecial50845 жыл бұрын
聽得感動~~
@Jean_Angelo_SaezCompositor6 жыл бұрын
Es una delicia para los oídos 3:35
@adrianthorburn34356 жыл бұрын
The dogs bollox we say in south London
@CaradhrasAiguo4911 жыл бұрын
I. Allegro 11:30 II. Andante 22:01 III. Allegretto; Presto
@elijaguy12 жыл бұрын
wonderful! (27:40 we say in "hebrew": "Yalla, balagan!!"
@mihawkdrakule38696 жыл бұрын
1:26
@jackhousman663711 ай бұрын
ANybody know whose cadenzas he plays?
@kutandr9 жыл бұрын
класс!!!!!!!
@chrish123454 жыл бұрын
any evidence of any soloists in Mozart's time, rather than mere treaty-tricksters, doubling the melody as Mike does here? What would be the point of such a dubious venture?
@TehKaiser4 жыл бұрын
After defeat, you delete your comment to erase the record. Don't worry, bud I got email notficiations to repost what you tried to erase. He isn't doubling the melody anyway, but rather the accompaniment. .
@chrish123454 жыл бұрын
@@TehKaiser nobody was addressing the questions. He does double melody lines, he does it here and you can see him doing it a lot on the video of the 9th all the time. My question was about soloists in Mozart's day, not what he wrote in the score or what it says on any page, whether written, engraved or carved into a sheep-dog's testicle. Second question refers to purpose.
@TehKaiser4 жыл бұрын
@@chrish12345I replied in my thread. You're not deleting crap this time.
@TehKaiser4 жыл бұрын
@@chrish12345 Besides, if no evidence exists, that means the ultimate question in unanswerable either way; with the antagonists still relying on scores of other masters such as Haydn and other contemporaries to shakily prove it wasn't customary. It also is irrelevant trivia even if it was answerable since that was then, and this is now. and thus, the artist has nothing more than "a suo piacere" to play however the hell he wants in modern times. It also means it's a rhetorical question that does not matter. Every pianist is a cover artist, and in the echo chamber that is classical training, they are relatively clunky and awkward performers who lack compositional inspiration compared to the master that is Mozart.
@TehKaiser4 жыл бұрын
@@chrish12345 The only time there is any perceptible doubling is when the orchestral basses and cellos are SPECIFICALLY ORDERED to play in rhythmic unison with the winds and the higher strings for the little fanfare at the end of the orchestral section. That is still accompanying the melody since the basses don't have the melody. There is no deviation from the orchestral bass on the part of the pianoforte anywhere where the sections are properly deemed orchestral-only; that is not a surprise. it's not like i cannot read music to check if actual liberties are taken, you know. Have you even played this work, because I certainly have studied the first movement to perform in a reduced duo(no, I did not play the bass notes because it's a modern piano). So don't even think you can pull a fast one on me regarding the melody of this work. Quarter, dotted-eight, sixteenth, quarter, quarter, dotted-half, dotted-eight, sixteenth starts the work's first two bars. The basses play one little low G in measure 2. The piano definitely not doubling the strings there.