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Hyperion Records

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Track(s) taken from CKD424
Recording details: May 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: May 2013
Total duration: 21 minutes 5 seconds

'Here is a different take on Mozart by a quartet often playing wittily as well as exquisitely, and by a talented pianist' (Fanfare, USA)

'Gottlieb Wallisch's elegant piano playing and the subtle and refined touch given to the accompaniment by the Piatti Quartet certainly make a convincing case for these versions, and I suspect it's only really because we're so used to hearing them in the context of an orchestra that we might have any cause to rebel against them … your mind may turn its nose up at the thought of these concertos with a mere string quartet as backing, but once you get your hands on it and allow these fine performances start to infuse your soul, they will more than likely take over and convince your brain to stop griping and enjoy' (MusicWeb International) » More

'Gottlieb Wallisch und das Piatti Quartett präsentieren sehr überzeugende Interpretationen der Klavierkonzerte 12, 13 und 14, wobei insbesondere Wallisch sich als ein ebenso nuancierter wie virtuoser Pianist entpuppt der den jugendlichen Drive aber auch das bereits vorhandene Genie Mozarts sehr deutlich hörbar macht' (Pizzicato, Germany)

Piano Concerto No 14 in E flat major, K449
composer

Allegro vivace  [8'44]
Andantino  [6'04]

Introduction  EnglishDeutsch
The Concerto in E flat major, K449 is the first of a series of no less than six piano concertos that Mozart composed in 1784, an extremely successful year for him. Mozart had mastered his livelihood as a freelance artist and established his reputation as composer, performer and teacher in Vienna. His newfound confidence as a composer became apparent in his newly created Catalogue of all my Works from the same year, with the E flat major Concerto noted down as the first entry on 9th February 1784. This concerto can also alternatively be performed ‘a quattro’ (without oboes and horns). And yet it already marks a distinct departure from the concertos of the year 1783, primarily because of the vast diversity of dramatically changing themes and nuances in the first movement (marked ‘allegro vivace’, an uncommon tempo for Mozart), but also through a rather irregular musical flow that challenges the soloist to provide balance and continuity. The intimate and romance-like ‘andantino’ offers exquisite harmonic surprises, Mozart ventures far away from the home key of B flat, grazes A flat major, E flat minor and D flat major and only via B minor he manages to find his way back to the original key. The last movement, inscribed ‘allegro ma non troppo’, is overall a strictly contrapuntal finale that comes along with wit, subtlety and ease. Yet these moods are clouded twice: first by a fiery C minor couplet in the middle of the movement, and later on by a mysterious drifting to D flat minor, just before a rapid 6/8 stretta conjures up a liberating climax.

from notes by Gottlieb Wallisch 2013

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