Tower Records Definition Series Digital Era
Friedrich Gulda、Chick Corea、Nikolaus Harnoncourt、Daniele Gatti & Royal Concertgebouw Orchestra - Wolfgang Amadeus Mozart Klavierkonzerte · Piano Concertos · KV 488&537»Krönungskonzerte · Coronation - Japan 2025 Mastering 2 SACD Hybrid
Friedrich Gulda、Chick Corea、Nikolaus Harnoncourt、Daniele Gatti & Royal Concertgebouw Orchestra - Wolfgang Amadeus Mozart Klavierkonzerte · Piano Concertos · KV 488&537»Krönungskonzerte · Coronation - Japan 2025 Mastering 2 SACD Hybrid
Hybrid SACD
Classical Music
November 21, 2025
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: TDSA10025
JAN/ISBN: 4943674435258
Number of Discs: 2
Country/Region of Manufacture: Japan
Credits:
Friedrich Gulda、Chick Corea、Nikolaus Harnoncourt、Daniele Gatti & Royal Concertgebouw Orchestra
Description:
＜DISC2 is the first SACD release! This is the seventh digital recording to be released on SACD! New commentary included! After recording Mozart's Piano Concertos Nos. 20, 21, 25, and 27 with Abbado, Goulda and the geniuses Arnoncourt & RCO recorded in September 1983 the highest peak of these concertos, Nos. 23 and 26, which are miraculous performances full of inspiration and flexibility that the word "maturity" alone is not enough. The superb performances based on mutual trust between the two musicians are one of the greatest recordings of all time, and should be listened to for a long time to come. This latest reissue also includes the once-in-a-lifetime "Concerto for Two Pianos" recorded with Chick Corea in June of the same year. The two masterpieces have been digitally mastered in their native countries and newly converted to SACD for this release. New commentary included. For Goulda, Mozart is as special as Beethoven and Bach, and there are several recordings of his piano concertos. After recording Nos. 21 and 27 in the Concert Hall in stereo, and the above-mentioned Abbado and four pieces for DG, the first digital recording of Mozart's piano concertos followed. In addition to the aforementioned pieces, he also performed No. 14 and No. 24, and these recordings are still available. In 1986, the orchestra played No. 21 and No. 27 live with the Munich Philharmonic Orchestra, which was also released as an independent recording. While the combination with Arnoncourt, with whom this TELDEC recording was their first joint recording, attracted much attention, there were concerns at first about the gap between Arnoncourt's approach to ancient music and Gourda's musicality at the time, but in the actual performance, there was surprising coordination, and the musical base of the two was built on a mutual empathy. The actual performance, however, showed a surprising degree of cooperation, and the construction of the musical base based on mutual empathy was sublimated to such a degree that listeners who heard it were surprised and gave high marks to this newly added disc.Whether this was due to Goulda's practical experience or Arnoncourt's responsiveness is a matter of conjecture, but there is no doubt that this disc, if not the only one, was a milestone in Arnoncourt's subsequent foray into a wide range of fields and in the establishment of his reputation. It is a milestone in Arnoncourt's later forays into a wide range of fields and in establishing his reputation. (1/2)
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