40" and the dolorous "Masonic Funeral Music. This concerto also opens in triple meter, an unusual feature of Mozarts 27 Piano Concerti only K. The two-CD set is filled out by Davies leading sturdy, moderately paced, very well-played performances of Mozart's magnificent "Symphony No. In only four other piano concerti by Mozart are the slow movement in a minor key (K. ![]() Symphony No.40 in G minor, K.550 Wolfgang Amadeus Mozart - Accordion solo. Symphony No.40 in G minor, K.550 Wolfgang Amadeus Mozart (Movement 1, piano arrangement) Solo Piano. But at least they use modern instruments, for which many now turned off by grating period-instrument recordings should be thankful. Flute, Oboe, Clarinet In B-flat, Bassoon and 2 more. Dennis Russell Davies and the Stuttgart Chamber Orchestra come off somewhat better in the deal, with streamlined, flowing, somewhat soft-focused introductions influenced ever so slightly by period-instrument bowing practices that became prevalent in the late 20th century. One wonders if the engineering is actually fighting Jarrett's sporadic attempts to characterize the music. Another problem is the way Jarrett's piano is miked it sounds distant, with little in the way of dynamic contrast, surrounded with a slight halo of reverb. Next to Artur Schnabel's old yet still-treasurable recordings of pointed, imaginative eloquence - or Daniel Barenboim's renderings of expression and depth - Jarrett is simply a non-starter in numbers 21 and 27. ![]() 21" has the tune that became famous after being used in the film Elvira Madigan yet Jarrett resists poetry of any kind, pounding out the chords in the left hand stiffly. 27" isn't out of line, it just seems much slower than it actually is due to his stolid, doggedly literal playing the larghetto is actually a bit fast, and the rondo lacks point and wit. As in the finale of Mozart’s Concerto in. 23" much of it is precious and monochromatic, though he finally does generate some animation in the "Finale." Jarrett's tempo for the opening movement of the "Concerto No. At midpoint, Mozart intrudes on the calm, B-flat song with a cyclonic presto outburst in G minor, jolting listener and performer from their reverie, with the soloist forced to race up and down the keyboard with a degree of virtuosity elsewhere in Mozart restricted to the outer movements of a concerto. 1 Brilliant Classics 1.6M views 2 years ago Friedrich Gulda: Beethoven - Piano Concerto No. ![]() He brings nearly nothing of his own to the "Concerto No. Mozart's piano concertos may be relatively easy to play but they are notoriously hard to interpret - that's where the true music-making comes in - and brave intentions aside, Jarrett cannot do very much with this music beyond playing the notes accurately and cleanly. At midpoint, Mozart intrudes on the calm, B-flat song with a cyclonic presto outburst in G minor, jolting listener and performer from their reverie, with the. Keith Jarrett evidently has carte blanche to do anything he wants at Manfred Eicher's ECM label - and thus encouraged, he takes ample risks in a field that is swamped with able and formidable competitors.
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