Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDH55333

Piano Concerto No 12 in A major, K414

1783; published in 1785

Susan Tomes (piano), The Gaudier Ensemble
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2003
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: January 2004
Total duration: 23 minutes 41 seconds

Cover artwork: The Island of Cythera (detail) by Jean-Antoine Watteau (1684-1721)
Städelsches Kunstinstitut, Frankfurt / Photo © Ursula Edelmann – Artothek
Allegro  [10'04]
Andante  [7'22]
Allegretto  [6'15]

Other recordings available for download

Melvyn Tan (piano), London Chamber Orchestra
Gottlieb Wallisch (piano), Piatti Quartet


'Susan Tomes's playing has all the qualities for which Mozart himself was renowned: delicacy, agility, neatness, expressive eloquence. In close creative dialogue with the Gaudier Ensemble she brings limpid, subtly coloured tone to the lyrical melodies, makes Mozart's passagework dance and sparkle, and relishes opportunities for sly and witty timing. Crucially, too, in Mozart, she knows when to be simple. A delightful disc' (The Daily Telegraph)

'Chamber music at its best—unified, warm, intimate' (American Record Guide)

'These works have been recorded in chamber form before, but this time the result is lighter and more intimate than in previous versions, helped by a clear, dry recording acoustic. There are few recording pianists to match Susan Tomes for clarity of articulation, and here she leads sparkling performances. Speeds are relatively fast, with slow movements kept moving to bring out their soaring lyricism' (The Guardian)

'Light and air is everywhere; the transparency of the sound remains a constant delight … a sense of musicians bouncing their performances off each other … these are above all genial renditions. Mozart himself never aimed at plumbing depths—he told his father the concertos were 'very brilliant' and 'fell agreeably on the ear'—so Tomes's fingerwork, always light and precise, would appear to be made to measure … this disc offers major pleasures and refreshment' (The Times)
The Concerto in A major, K414 impresses with its lyricism and rich melodic texture, especially in the first movement: the ritornello presents four different themes, the solo-piano elaborates with the addition of two more. Particularly the transitions between the individual parts are of expert design; a wonderful balance carries the musical progression without ever depending on dramatic effects. In the second movement, a solemn ‘andante’, Mozart emulates his great idol Johann Christian Bach, who had died the year before. As if paying a personal homage, he takes the first four bars of an overture that Bach had composed in 1763 for Baldassare Galuppi’s opera La Calamità dei Cuori and respectfully adapts them for his main theme. Mozart had originally envisioned the ‘Rondo’ in A major, K386 for the finale of this concerto, but this posthumously published piece had to give way to a more compact final movement. Its playful main theme exemplifies how Mozart was able to write catchy and easily understandable themes, as he had alluded to in his letter. Only the central part of the movement contains flickering moments of operatic drama, the rest is pure pleasure of the highest order.

from notes by Gottlieb Wallisch © 2013

Das Konzert in A-Dur, KV 414 besticht durch seinen lyrischen Charakter und reiche Melodik, insbesondere im Kopfsatz: Das Ritornell präsentiert vier verschiedene Themen, das Klavier fügt diesen dann noch zwei weitere neue Melodien hinzu. Besonders die Übergänge zwischen den einzelnen Teilen sind meisterhaft gestaltet, eine wunderbare Balance trägt das gesamte musikalische Geschehen, ohne je nach dramatischen Effekten zu suchen. Im zweiten Satz, einem feierlich-würdevollen andante, besinnt sich Mozart seines großen Vorbilds Johann Christian Bach, der ein Jahr zuvor verstorben war. Einer Hommage gleich übernahm er als Hauptthema nahezu unverändert die ersten vier Takte einer ouvertüre, die Bach 1763 für Baldassare Galuppis oper La Calamità dei Cuori komponiert hatte. Für das Finale dieses Konzerts hatte Mozart ursprünglich das nach seinem Tod erschienene Konzertrondo in A-Dur, KV 386 vorgesehen. Es musste aber einem knapperen Schlusssatz weichen. Dessen pfiffiges Hauptthema macht deutlich, welch eingängige und leicht verständliche Themen Mozart schreiben konnte, auf die er in seinem Brief anspielte. nur im Mittelteil des Satzes flackern Momente opernhafter Dramatik auf, der Rest ist reines Vergnügen auf höchstem niveau.

aus dem Begleittext von Gottlieb Wallisch © 2013

Other albums featuring this work

LCO Live - Haydn, Mozart & Beethoven
SIGCD175Download only
Mozart: Piano Concertos Nos 12, 13 & 14
Studio Master: CKD424Download onlyStudio Master FLAC & ALAC downloads available

There are no matching records. Please try again.