Mozart: The Last Concertos
Freiburger Barockorchester, Andreas Staier & Gottfried von der Goltz
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| Name | Artist | Time | Price | ||
|---|---|---|---|---|---|
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1 |
Piano Concerto No. 27, K. 595: I. Allegro | Andreas Staier, Gottfried von der Goltz & Freiburger Barockorchester | 13:42 | Work Only | View In iTunes |
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2 |
Piano Concerto No. 27, K. 595: II. Larghetto | Andreas Staier, Gottfried von der Goltz & Freiburger Barockorchester | 7:28 | $0.99 | View In iTunes |
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3 |
Piano Concerto No. 27, K. 595: III. Allegro | Andreas Staier, Gottfried von der Goltz & Freiburger Barockorchester | 9:40 | $0.99 | View In iTunes |
|
4 |
Clarinet Concerto, K. 622: I. Allegro | Lorenzo Coppola, Gottfried von der Goltz & Freiburger Barockorchester | 12:09 | Work Only | View In iTunes |
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5 |
Clarinet Concerto, K. 622: II. Adagio | Lorenzo Coppola, Gottfried von der Goltz & Freiburger Barockorchester | 8:01 | $0.99 | View In iTunes |
|
6 |
Clarinet Concerto, K. 622: III. Allegro | Lorenzo Coppola, Gottfried von der Goltz & Freiburger Barockorchester | 8:19 | $0.99 | View In iTunes |
| Total: 6 Songs |
Customer Reviews
Mozart's Last Concertos
The Clarinet Concerto is one of Mozart's finest compositions and in this recording sounds much like we might have expected in Mozart's time very light and songlike just lovely and very focused. The Piano Concerto is grand and an example of some of his greatest works, he loved his opera and brought much of it to his instrumental works so many of the themes are aria like. The use of the pianoforte is quite pleasant and gives the recording a sense of originality. Very cool music! Peace and Love Guy Piano
A Faithful Rendition
Freiburger Baroque is a rising star in the classical music sphere. Its recording of Haydn’s “Seasons” won the nomination of Gramophone Records Magazine in 2007. As expected, the performances in this recording are purely authentic and periodic. Based on the sound, the string players probably did not use vibrato at all. However, the orchestra provided firm support to the soloists with rthymic dynamic as well as verve in tutti passages for the orchestra. The piano used in the first concerto is a forte piano with less resonance and expressive power than a modern Steinway. The choice of the instrument brought Mozart’s compositional skill into sharp relief in terms of not letting the orchestra overshadow the piano solo parts. The factor also might shed light on why Mozart was unable to produce more powerful piano concerti as early Beethoven, who was blessed with the advent of the Broadwood instrument. The instrument used in the clarinet concerto is a basset horn, like the one used by Anton, for whom the concerto was dedicated. The instrument has more power in lower register and balances well with the orchestra. One of the many delights offered by this recording is the comfort that this could well be what was actually heard by Mozart’s patrons in his Viennese concert around 1790.
Delightful
These performances are remarkably fresh and articulate: spot on playing, sparkling clarity and intimacy. A nice alternative to modern interpretations.
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