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Hyperion Records

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The Island of Cythera (detail) by Jean-Antoine Watteau (1684-1721)
Städelsches Kunstinstitut, Frankfurt / Photo © Ursula Edelmann – Artothek
Track(s) taken from CDH55333
Recording details: April 2003
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: January 2004
Total duration: 24 minutes 58 seconds

'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)

Piano Concerto No 13 in C major, K415
composer
1783; published in 1785

Allegro  [10'12]
Andante  [6'53]
Rondeau: Allegro  [7'53]

Other recordings available for download
Gottlieb Wallisch (piano), Piatti Quartet
Introduction  EnglishDeutsch
The Concerto in C major, K415 presents itself orchestral, grand and virtuoso. The orchestral opening of the first movement is coloured in a military tone with a broader scope than the previous concerto, the solo sections are sharply distinguished. Mozart gives the soloist plenty of room to show proof of his dexterity. Of remarkable appeal is the switching between major and minor in the vast second theme played by the piano. A brief theatrical effect is exercised by a recurring rocket-like unison rise, appearing four times in each final section.

Mozart contrasts the opulent opening movement with an unpretentious romance in F major in which almost endlessly floating cantilenas resound with class and calm. The spaciousness of the piano cadenza surprises the listener, Mozart’s improvisational gift seems to be overflowing and infinite. The finale of the concerto is formally unique and unconventional despite its logic and craftsmanship. Its innocent rondo theme is struggling to assert itself during the course of the movement, especially since two suddenly occurring C minor adagio sections have a silencing effect. Mozart had originally outlined the C minor theme for the slow movement of the concerto but opted for the lighter F major in its place. He saved the C minor inserts to create dramatic scene changes in the finale. After the last appearance of the rondo theme, the music seems to be running away, to scatter into the winds; the concerto ends in pianissimo, and nothing remains of the majestic opening C major celebration.

from notes by Gottlieb Wallisch © 2013


Other albums featuring this work
'Mozart: Piano Concertos Nos 12, 13 & 14' (CKD424)
Mozart: Piano Concertos Nos 12, 13 & 14
MP3 £8.00FLAC £10.00ALAC £10.00 CKD424  Download only  

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