Mozart: Rondo for Piano & Orchestra in A major, K386

This page lists all recordings of Rondo for Piano & Orchestra in A major, K386, by Wolfgang Amadeus Mozart (1756-91) on CD, SACD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Gulda Plays Mozart & Gulda

Gulda Plays Mozart & Gulda


Gulda:

Improvisation 1 + 2

Live recording of a concert on June 27, 1982 at the Munich “Klaviersommer” with the jazz pianist Chick Corea

Mozart:

Piano Sonata No. 12 in F major, K332

Live recording of a concert on June 27, 1982 at the Munich “Klaviersommer” with the jazz pianist Chick Corea

Rondo for Piano & Orchestra in A major, K386

Live recording, Munich, Herkulessaal, 04.10.1969

Symphonieorchester des Bayerischen Rundfunks, Leopold Hager

Rondo for Piano & Orchestra in D major, K382

Live recording, Munich, Herkulessaal, 04.10.1969

Symphonieorchester des Bayerischen Rundfunks, Leopold Hager


Mozart was certainly among the "domestic deities" of Viennese pianist Friedrich Gulda. He repeatedly played Mozart's piano music in his concerts and had it recorded. In so doing, this classically-trained musician, who had already played successfully in jazz bands at a young age, ignored the strict limits imposed by genres: he wanted to show audiences that there are no distinctions between musical styles whenever good music is played honestly and conscientiously. On June 27, 1982, Gulda again appeared at Munich's "Klaviersommer" festival. His partner was the jazz pianist Chick Corea, and the collaboration of both musicians is documented on the CD (and DVD) "The Meeting" - a standard in recording history. Until now, only the famous second half of this concert has been available and not the first, which Gulda performed on his own and was devoted primarily to Mozart. Gulda thus used Mozart's piano music as a kind of introduction to the world of jazz improvisation. The first part of this legendary concert, performed at the Deutsches Museum in the summer of 1982, took the soloist Gulda over 40 minutes to perform, even though he "only" played Mozart's Piano Sonata in C Major K 330. But he began and ended it with his own improvisations, which sound less than Mozartian, even though they do contain a broad and subtle range of different styles and effects, catchy melodies, and violent cascades of sound. Gulda proves to be a highly gifted interpreter of Mozart as well as a mischievous improviser on the piano – who also wants to entertain and can do so on a high level. - As a transition to the second part of the concert, he performs two of his own compositions, which can also be heard on this CD from BR-KLASSIK. It is a piece of good fortune that the Bayerischer Rundfunk has now made the first half of this concert event accessible to a wide audience too.The recording begins and ends with Mozart's rarely-heard Rondos for Piano and Orchestra in A Major KV 386 and D Major KV 382. Gulda played them on October 4, 1969 in the Herkulessaal of the Munich Residenz, accompanied by the Symphonieorchester des Bayerischen Rundfunks under Leopold Hager. Gulda plays cheerfully without the slightest audible effort, combining Mozart with the finesse of a grandiose performer who is in fact laughing up his sleeve.

Released or re-released in last 6 months

BR Klassik - 900713

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Mozart & Haydn: Jeunehomme

Mozart & Haydn: Jeunehomme


Haydn:

Keyboard Concerto No. 11 in D major, HobXVIII:11

Cadenza: Alexandre Tharaud (with quotation of Marche Turque)

Mozart:

Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme"

Rondo for Piano & Orchestra in A major, K386

Cadenza: Alexandre Tharaud (with themes of “Jeunehomme”)

Ch'io mi scordi di te?... Non temer, amato bene, K505

Joyce DiDonato (mezzo-soprano)


“Alexandre Tharaud is an atmospheric, characterful pianist whose individuality seems to communicate best on CD … Vivid imagination meets deliciously poised pianism.” Nicholas Kenyon, The Observer, Sunday 24 November 2013

Tharaud returns with a an album of music by Haydn and Mozart, all composed between 1777 and 1786, including Mozart’s masterpiece the Piano Concerto No.9 “Jeunehomme”, widely regarded as one counting among his greatest works. The piano works are cleverly weaved together through the cadenzas. While he performs Mozart’s cadenzas in the Piano Concerto No.9, Tharaud has written his own cadenza for the Rondo in A – employing themes from “Jeunehomme” – as well as for the Haydn Piano Concerto – in which he uses motifs from Mozart’s famous Rondo “alla Turca”, which with the final movement being a Rondo “all'Ungherese”, gives the piece a truly Eastern European flavour.

The album sees Tharaud reunite with old friends – the award-winning French-Canadian chamber orchestra Les Violons du Roy under the baton of their music director Bernard Labadie, and the outstanding mezzo-soprano Joyce DiDonato in Mozart’s concert aria “Ch'io mi scordi di te?”.

“DiDonato at the peak of her form in Mozart's great K505 concert aria. Her impeccable intonation no matter how decorative the passagework, her effortless agility in all registers and her genius for word-painting (together with Tharaud's vibrant and eloquently shaded piano obbligato) are worth the price of this disc.” Gramophone Magazine, November 2014

“Tharaud has had fun interjecting his own magpie cadenzas into Mozart’s Rondo K386 and Haydn’s D major piano concerto. The French pianist’s restless energy and esprit are infectious throughout. Les Violons du Roy and Bernard Labadie are sparkling partners.” The Observer, 23rd November 2014 ****

Erato - 2564626268

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Mozart: Piano Concertos Nos. 17 & 22

Mozart: Piano Concertos Nos. 17 & 22


Mozart:

Piano Concerto No. 17 in G major, K453

Piano Concerto No. 22 in E flat major, K482

Rondo for Piano & Orchestra in A major, K386


Kristian Bezuidenhout [fortepiano: Paul McNulty, Divisov, Czech Republic, 2009, after Anton Walter & Sohn, Vienna, 1805]

Freiburger Barockorchester, Petra Müllejans

"Early on in the planning of these sessions, we decided that the microphone placement would be very different from traditional set-ups. After much experimentation, we opted for a layout very much like theatre in the round, with the keyboard in the very centre, winds in a line facing the solo instrument, and the strings as a sort of envelope all around and behind the piano. Crucially, it brings the winds – such operatic characters in Mozart’s Viennese concertos – very much to the fore of the sonic picture; it also encourages a much more natural and vivid interplay between the piano and the wind band. It has meant that the kind of keyboard-dominated sound one sometimes encounters, has been replaced by what E. T. A. Hoffmann described as a symphony with piano obbligato – the piano, playing both solo and continuo, darts in and out of the lush orchestral texture; at times, incredibly prominent, at other moments, purely accompanimental. Mozart’s sensational gifts as an improviser are well known by now, and indeed there are frequent places in the piano part where embellishment is an obligatory element of the stylistic grammar. Our feeling was that this spirit of spontaneity should extend to the orchestra as well. One will notice that the solo wind instruments depart from the text on numerous occasions; these ornaments were partly pre-planned, partly refined and revised by the wonderful wind principals of the FBO. After all, Mozart was writing for some of the most gifted and wellrespected wind soloists of the time, and although it is hard to prove, I find it difficult to imagine that he would have frowned on his collaborators’ natural tendency to introduce subtle embellishments." Kristian Bezuidenhout

Kristian Bezuidenhout's next release on harmonia mundi USA will be Volume 4 of his solo Mozart project which has received unanimously good, sometimes great, reviews, including IRR Outstanding, Gramophone Recommends, CD Review Disc of the Week and a BBC Music Magazine Choice.

“Bezuidenhout plays with his usual brilliance and subtlety and with inventive ornamentation. But the instrument’s meagre tone, in comparison with the orchestra, is all too apparent...the Freiburg players’ splendidly forceful, incisive tuttis only underline the disparity.” Sunday Times, 4th November 2012

“'s the irrepressible imagination and vitality of Bezuidenhout's playing, the range of colour and touch he obtains from his keyboard, and the way he uses it to throw new light on detail that give these performances their really distinctive flavour.” The Guardian, 8th November 2012 ****

“the fortepiano’s most persuasive performer...Bezuidenhout still shapes and shades this music with almost romantic finesse, and releases the historic instrument’s full expressive potential. In every register the sound changes: proudly growling down in the bass, bird-bright in the treble reaches, round and velvety in the middle.” The Times, 23rd November 2012 ****

“This is a bold, even uncompromising issue, and may not be one for the faint-hearted...Articulation is ultra-crisp, and forte often feels like sforzando...The net effect throughout is vivid, always interesting, sometimes exciting, occasionally prissy, even a little didactic: for all that, I have greatly enjoyed it” International Record Review, December 2012

“Bezuidenhout [has] carved out [a] considerable reputation in this repertoire.” Early Music Review, December 2012

“I found this immediately thrilling; the extreme textural and dynamic variations give the music terrific bite … his playing is always imaginative and constantly engaging” International Piano, January/February 2013

“remarkably consistent in relation to the previous three volumes, regarding the fortepianist's superb technical acumen and musical intelligence, as well as interpretative affectations that seem more precious than stylish...however, Bezuidenhout's spirited style and authoritative fingerwork never operate at less than world-class standards.” Gramophone Magazine, January 2013

“Bezuidenhout gives us characteristically thought-provoking performances of two of the great Mozart Concertos. Particularly felicitous is his use of solo orchestra strings for some of the music's most intimate moments...Altogether a rewarding disc and one that Bezuidenhout's many admirers will not want to be without.” BBC Music Magazine, February 2013 ****

Harmonia Mundi - HMC902147

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Mozart: Piano Concerto No. 9 in E-flat major, K271 'Jeunehomme', etc.

Mozart:

Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme"

Rondo for Piano & Orchestra in A major, K386

Piano Concerto No. 25 in C major, K503


Pascal Rogé (piano)

Indianapolis Symphony Orchestra, Raymond Leppard

Onyx - ONYX4013

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Mozart - The Great Piano Concertos, Volume 1

Mozart - The Great Piano Concertos, Volume 1


Mozart:

Piano Concerto No. 19 in F major, K459

Rondo for Piano & Orchestra in D major, K382

Rondo for Piano & Orchestra in A major, K386

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

Piano Concerto No. 23 in A major, K488

Piano Concerto No. 24 in C minor, K491


Penguin Guide

Rosette Winner

Building a Library

CD Choice - March 2013

Decca Duo - 4422692

(CD - 2 discs)

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Mozart: Piano Concertos Nos. 21 & 23

Mozart: Piano Concertos Nos. 21 & 23

Abbey Road Studios, London, 10-12 June 2014


Mozart:

Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

Piano Concerto No. 23 in A major, K488

Rondo for Piano & Orchestra in A major, K386


Praised by The New York Times for her ‘clear articulation … unequivocal phrasing … [and] expressivity’, Ingrid Jacoby has established herself as one of the most poetic and admired pianists of her generation. She has won numerous prizes and competions, including the

Artists Presentation Award and Steinway Hall Artists Prize, the Baldwin National Piano and Gina Bachauer International Piano Competitions, the Concert Artists Guild Award and a Lifetime Achievement Award from the National Society of Arts and Letters.

Since moving to England, she has performed with many major orchestras, including the London Symphony, London Philharmonic and Royal Philharmonic Orchestras as well as the London Mozart Players, working with such eminent conductors as Mackerras, Slatkin, Sinopli, Susskind and Kaspszyk. Recent high-profile performances include concerts in the Great Hall of the Moscow Conservatory with the Russian National Orchestra and at the Salzburg Music Festival where she played works by Mozart.

Her new recording of Mozart’s Concertos K467 and K488, complete with the Rondo K386, and accompanied by the internationally celebrated Academy of St Martin in the Fields conducted by Sir Neville Marriner, follows on from her earlier recording of Concertos K449 and K595 which received excellent reviews. International Record Review: ‘Marriner and Jacoby seem to be on the same wavelength… often extremely beautiful’; Gramophone: ‘At her finest, she (Jacoby) displays a wonderful clarity of fingerwork’; Fanfare Magazine: ‘This is Mozart playing on a par with such greats as Rosenberg, Haskil, and Fischer’; The Guardian: ‘Ingrid Jacoby is in suitably playful mood, dancing through the finale of the E flat concerto and charming us with the childlike grace of No.27’s larghetto’; Pizzicato: ‘Neville Marriner and Ingrid Jacoby perform two Mozart Concertos in a vivid yet very classical manner with the American pianist confirming her talent to emphasize the music with the most expressive naturalness’

The booklet contains notes by Richard Wigmore in addition to personal insights by Ingrid Jacoby on Mozart.

“The Academy of St Martin in the Fields [sound] deliciously crisp, expressive and lifelike under their ageless director…Ingrid Jacoby has been much praised, and she certainly commands a firm, finger-perfect technique.” BBC Music Magazine, September 2015

“I agree with Jacoby when she leaves the piano’s wide intervals in the coda of K488’s desolate andante bare, incorrect though fashion decrees it...Marriner’s fine musicians play crisply and expressively.” Sunday Times, 14th June 2015

ica classics - ICAC5135

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Mozart: Concertos for 2 & 3 Pianos & Concert Rondos

Mozart: Concertos for 2 & 3 Pianos & Concert Rondos


Mozart:

Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365

Zoltán Kocsis & Dezsö Ránki (piano)

Hungarian State Orchestra, János Ferencsik

Concerto for Three Pianos & Orchestra, K242

Zoltán Kocsis, Dezsö Ránki & András Schiff (pianos)

Hungarian State Orchestra, János Ferencsik

Rondo for Piano & Orchestra in D major, K382

Annerose Schmidt (piano)

Dresdner Philharmonie, Kurt Masur

Rondo for Piano & Orchestra in A major, K386

Annerose Schmidt (piano)

Dresdner Philharmonie, Kurt Masur


Wolfgang Amadeus Mozart is considered one of the greatest composers of all time. In his relatively short life he contributed to every style of composition, and is as well known for his instrumental music as for his sacred works and operas. Credited with the invention of the piano concerto, his distinctive style and developments in orchestration brought new sophistication to the music of the Classical period. During the 1770s Mozart was an employee of the Archbishop Hieronymous Colloredo in Salzburg, and it is from this period that the Concerto for 3 Pianos and Orchestra in F K242 dates. The work was written with the Archbishop’s nieces in mind, although it was later revised for Mozart and his sister to play, and its cheeky interplay between the soloists and various passages of fast finger work are typical of Mozart’s style. The Concerto for 2 Pianos and Orchestra K365 that follows contains a plethora of ideas that the composer weaves into a whole; the ensuing Rondo for Piano and Orchestra in D K382, meanwhile, was hugely popular among the Viennese audience at the time of its composition, and has remained so today – thanks to its imaginative scoring and memorable melodies. Last, not by no means least, the Rondo for Piano and Orchestra in A: thought to have been the original finale to the Piano Concerto in A, this work was not published in Mozart’s lifetime. Gradually pieced together from manuscript sold on by his wife after his death, it was finally issued in 1963. The disc features four outstanding pianists: Hungarian pianist and conductor Zoltán Kocsis, fellow countryman Dezsö Ranki, British‐Hungarian András Schiff and Germanborn Annerose Schmidt. They are joined by the Hungarian State Orchestra (conducted by János Ferencsik) and the Dresdner Philharmonie (conducted by Kurt Masur).

Brilliant Classics - 94499

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$7.75

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Concerto Symphonique

Concerto Symphonique


Beethoven:

Rondo for Piano & Orchestra in B flat major, WoO 6

Variations on ‘Là ci darem la mano' from Mozart's ‘Don Giovanni', WoO 28

Litolff:

Concerto symphonique No. 4 in D minor, Op. 102: Scherzo

Mozart:

Rondo for Piano & Orchestra in A major, K386

Saint-Saëns:

Rapsodie d'Auvergne for piano & orchestra Op. 73

Stojowski:

Rapsodie Symphonique Op. 23


ABC Classics - ABC4654242

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Mozart: Piano Concertos Nos. 21 & 23

Mozart: Piano Concertos Nos. 21 & 23


Mozart:

Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

Piano Concerto No. 23 in A major, K488

Rondo for Piano & Orchestra in D major, K382

Rondo for Piano & Orchestra in A major, K386


Sony Classical Masters - 88697757852

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$6.50

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Mozart: Piano Concertos Nos. 9 & 12

Mozart: Piano Concertos Nos. 9 & 12


Mozart:

Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme"

Piano Concerto No. 12 in A major, K414

Rondo for Piano & Orchestra in A major, K386


The present disc is the first in a projected series of Mozart’s piano concertos, for which Brautigam returns to the fortepiano – a copy of an 1802 instrument by Walther & Sohn – and is joined by the experienced period band Die Kölner Akademie conducted by Michael Willens. The programme includes one of Mozart’s first early master-pieces, the ‘Jenamy’ Concerto (previously known as ‘Jeunehomme’) composed in 1777 before he had moved from Salzburg to Vienna. This is followed by Piano Concerto No.12 in A major, K 414, one of the first Vienna concertos, and a Rondo for piano and orchestra from the same period. Ronald Brautigam’s ongoing series of Beethoven’s music for piano solo has been met with great acclaim, but his earlier traversal of Mozart’s sonatas and variation were equally well-received, as witness the following quote from a review in Gramophone upon the release of it as a boxed set: ‘Brautigam's imaginative interpretations capture Mozart's many moods, from the galant style of the six earliest sonatas to the aching drama of the A minor (K310).’

To a unique degree, Ronald Brautigam has managed to combine highly successful careers as a performer on both the fortepiano and the modern piano. With close to fifty released CDs on BIS, his discography testifies to this, including complete cycles on fortepiano of the solo piano music by Mozart and Haydn, but also four recent discs of the complete Beethoven piano concertos played on a modern Steinway.

“Brautigam's interpretations are individual without being wayward or eccentric, for he ignores the accepted norms of performance and starts from the score itself...on the basis of this first installment I would urge anyone to invest in this new cycle. Brautigam is an absolutely instinctive Mozartian, with fleet fingerwork to match any, and with melodic playing of consummate beauty.” International Record Review, March 2011

“The Cologne Academy is a small band...but its playing under Michael Alexander Willens is lively and stylish throughout...What's impressive about [Brautigam's] playing is not just its sprightliness, but also its expressive character...If you prefer your Mozart played on period instruments, you're unlikely to find better performances than these.” BBC Music Magazine, March 2011 *****

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BIS Brautigam Mozart Concertos - BISSACD1794

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