Robert Levin - Mozart (1756-1791);Piano Concerto, 25, 27, Etc: R.levin(Fp)Egarr / Amm Louise Alder(S) - Import CD

Credits:

Robert Levin

Description:

The Academy of Ancient Music and pianist Robert Levin's project to complete the complete works of Mozart's piano concertos was resumed last year after a 20-year hiatus. The day of completion will soon arrive. Although many recordings of Mozart's piano concertos have appeared over the past 30 years, this is a unique and special project. The project, which features the erudite and versatile pianist Levin and academic advisor Cliff Eisen, a leading Mozart scholar, takes a broad view of the piano concerto genre that goes beyond conventional classifications and tells the real story of piano culture in the late 18th century. Detailed period research has led to recordings featuring harpsichord, tangent piano, fortepianos of different periods and different makers, and even organs. Levin shows not the slightest sign of slowing down after 30 years, and his playing is always steady yet improvisational. A new history of the reception of Mozart's piano concertos is born here.--Satoshi Otsu (May 2024)--Christopher Hogwood and the Academy of Ancient Music, who revolutionized the history of Mozart performance, began recording the complete piano concerto cycle in 1993 with Mozart scholar and pianist Robert Levin. 8 discs were released and The project, which was discontinued after 2001, will resume in 2023 and finally be completed with this release. The collection includes two of Mozart's later works, K. 503 (No. 25) and K. 595 (No. 27), both of which are magnificent in scale and conception, and the final work in the genre, the Concert Aria K. 505, which is sandwiched between the two works, not only because of its close proximity in date of composition and the piano's role, but also because of the lyrics "Why should I ever forget you...? Don't worry, my love," seems to have been adopted to express the feelings of all the musicians who have been involved in this project. The cadenza of the piano concerto is again improvised by Levin. Overall, attention tends to be drawn to the many "unscored" notes of improvisation and ornamentation, but they are characterized by their excellent fit with Mozart's style.It is not intended to differentiate from existing recordings, but to rediscover the "Mozart-ness" that results from a thorough respect for Mozart's style and attention to its details. The tuning is based on the Prinz tuning method derived from Kilnberger. The Japanese version comes with a Japanese commentary by Satoshi Otsu. (1/2) Naxos Japan