Mozart: Piano Concerto No. 20 in D minor, K466

This page lists all recordings of Piano Concerto No. 20 in D minor, K466, by Wolfgang Amadeus Mozart (1756-91) on CD, SACD, DVD, Blu-ray & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Martha Argerich Vol. 5 - Mozart, Bach, Schumann & Chopin

Martha Argerich Vol. 5 - Mozart, Bach, Schumann & Chopin


Bach, J S:

Toccata in C minor, BWV911

Recital of March 14, 1966, Milano

Chopin:

Mazurkas (3), Op. 59

Recital of March 14, 1966, Milano

Mozart:

Piano Concerto No. 20 in D minor, K466

Hamburg, June 16, 1966

Sinfonieorchester des Norddeutschen Rundfunks, Reinhard Peters

Schumann:

Fantasie in C major, Op. 17

Recital of March 14, 1966, Milano


Released or re-released in last 6 months

Doremi Legendary Treasures Martha Argerich - DHR8048

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Mozart: Piano Concertos Nos. 20 & 25

Mozart: Piano Concertos Nos. 20 & 25


Mozart:

Piano Concerto No. 25 in C major, K503

Piano Concerto No. 20 in D minor, K466


The first new release for ten years from Martha Argerich and Claudio Abbado was their first ever album of concertos by Mozart, and the final recording made by Maestro Abbado. The legendary pianist and conductor added the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.

Both concertos were recorded with Claudio Abbado’s Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching for new superlatives

This release is Martha Argerich’s first recording of solo concertos by Mozart on Deutsche Grammophone.

“the tidy sheen of the Orchestra Mozart’s young professionals tells us plenty about his genius as an orchestral trainer. And his rapport with the mercurial Argerich...is audible in every bar...In the C major concerto, No 25, Argerich’s light, playful attack is immediately apparent; so is the orchestra’s suavity.” The Times, 24th January 2014

“although not perfect is overwhelmingly beautiful. Argerich digs deeply into the keys, but never makes an ugly sound. Her subtle shaping with Abbado of the central movement in the D minor concerto is slow but serene, and the way she lifts the final simple phrases of the coda is heartbreaking.” The Observer, 7th February 2014 ****

“Argerich has not always been prized as a Mozartian, but her years of chamber-music-making bring a special rapport in the dialogues with the wind soloists in the urbane C major (K503) and dramatic D minor (K466) concertos. Her Mozart is highly personal...but always worth hearing.” Sunday Times, 16th March 2014

“Thi is a really fine performance [of K503], with impeccably judged tempos in all three movements, and great playing from the Orchestra Mozart...[in the D minor Concerto] Argerich's playing is full of both unforced poetry and eloquence, as well as commanding authority where needed.” BBC Music Magazine, April 2014 *****

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DG - 4791033

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Mozart: Piano Concertos Nos. 20 & 27

Mozart: Piano Concertos Nos. 20 & 27


Mozart:

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 27 in B flat major, K595


Among the most widely performed of Mozart’s piano concertos for a good half century after its composition in 1785, the Concerto No.20 in D minor still assumes a commanding place in the concert hall. Among its early devotees was Beethoven, who performed the work at a benefit concert for Mozart’s widow in March 1795 and who may well have found much to admire in the work’s brooding opening, characterized by syncopations and later punctuated by more aggressive outbursts; in his informative liner notes, the Mozart scholar John Irving goes so far as to call it ‘Mozart’s grittiest concerto’. Six years after the D minor concerto, in January 1791, the composer completed the Piano Concerto No.27 in B flat major, K595, giving the first performance of it two months later. This was to be his last public appearance as a soloist, and the concerto has sometimes been considered as a work in which the typical sparkle of Mozart’s virtuosity is tempered by resignation, as if the composer were already aware of his imminent demise. Such an interpretation is contradicted by a close study of the autograph manuscript, however: the concerto appears to have been begun two full years before it was completed. Its language is nevertheless more introverted than most of Mozart’s works in the genre: he seems to be aiming for a sublime delicacy of expression rarely attempted elsewhere in his concerto output. These two exceptional works are here performed by Ronald Brautigam and Die Kölner Akademie, on their fifth disc of Mozart’s concertos – an ongoing series which has been described as ‘a lucky break and a true delight’ in the German magazine Piano News.

“Brautigam and Michael Alexander Willens are never exactly slouches when it comes to tempos, and they give a breathlessly agitated account of the opening movement of the D minor Concerto K466...the slow movement of [K595] is decidedly on the flowing side...but the performance on the whole is one that commands attention. Recommended.” BBC Music Magazine, April 2014 ****

“while I wouldn't always want to hear it like this, Brautigam's performance is certainly refreshing...swiftness is a feature of all the performances here...His articulation is a model of clarity, his passagework powerfully directed.” Gramophone Magazine, February 2014

“Only the terminally averse to the fortepiano and/or smallish orchestras need stay away from any of these recordings...The smallish orchestra and the solo instrument are well balanced so that the former sounds full-bodied; not large-scale, but by no means pint-sized or desiccated...and the soloist shines without being too forward.” MusicWeb International, 27th September 2013

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BIS Brautigam Mozart Concertos - BIS2014

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Lucerne Festival Historic Performances Vol. I

Lucerne Festival Historic Performances Vol. I


Beethoven:

Piano Concerto No. 5 in E flat major, Op. 73 'Emperor'

recording 1957

Robert Casadesus (piano)

Wiener Philharmoniker, Dimitri Mitropoulos

Mozart:

Piano Concerto No. 20 in D minor, K466

recording 1959

Clara Haskil (piano)

Philharmonia Orchestra, Otto Klemperer


The launch of a new recording series from Audite: 'Lucerne Festival Historic Performances' provides a re-encounter with two outstanding pianists of the 20th century. In 1959 the leading Mozart performer, Clara Haskil, joined Otto Klemperer and his Philharmonia Orchestra to give a moving interpretation of the Piano Concerto in D minor (K466), which Haskil herself considered “unforgettable”, as she remarked in a letter.

Paired with Haskil’s Mozart is a live recording, by the French pianist Robert Casadesus, of Beethoven’s heroic Fifth Piano Concerto made in the summer of 1957. This live performance remains captivating thanks both to Casadesus’ radiant virtuosity, always at the service of musical content, and to the intense intimacy between conductor and soloist, which makes for a fascinating comparison with the studio recording of the same work which Casadesus, Mitropoulos and the New York Philharmonic released two years previously. Casadesus found congenial partners in Dimitri Mitropoulos and the Vienna Philharmonic. At the same time, the recording documents the Vienna Philharmonic’s first-ever appearance at the Lucerne Festival.

In cooperation with Audite, the Lucerne Festival presents outstanding concert recordings of artists who have shaped the festival throughout its history. The aim of this CD edition is to rediscover treasures – most of which have not been released previously – from the first six decades of the festival, which was founded in 1938 with a special gala concert conducted by Arturo Toscanini. These recordings have been made available by the archives of SRF Swiss Radio and Television, which has broadcast the Lucerne concerts from the outset.

Carefully re-mastered and supplemented with photos and materials from the Lucerne Festival archive, they represent a sonic history of the festival.

“This series is launched auspiciously...After a strong, sinewy introduction by Klemperer and the Philharmonia Haskil’s first entry exudes graceful calm. Thereafter we are treated to much stylish, wonderfully subtle and tasteful playing...Casadesus offers a good deal of heroic and commanding playing yet he’s equally capable of sensitivity.” MusicWeb International, 8th November 2013

Audite Lucerne Festival Historic Performances - AUDITE95623

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Mozart: Piano Concertos Nos. 27 & 20

Mozart: Piano Concertos Nos. 27 & 20


Mozart:

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 27 in B flat major, K595


The sublime results were worth the wait: after forty years of collaboration, Maria João Pires and Maestro Claudio Abbado record two of Mozart’s most beloved piano concertos for the very first time.

Maria João Pires weaves dark, dramatic strains into the miraculous luminosity of the D minor Concerto No.20, K.466 with a simplicity that makes her Mozart supreme. She then bestows a glowing majesty upon Mozart’s last piano concerto, the serene Concerto No.27 K. 595 in B flat major, as only an artist of her gifts and profound experience can.

Orchestra Mozart and Maestro Abbado support Pires with translucent sound and immaculate style: an exceptional encounter between two musical giants of our time.

“From the first moment, the performance has a quality that characterizes the entire recording: a perfect balance between musical, textural and rhythmic precision and all of the mood and atmosphere that the music requires” International Record Review, December 2012

“[K595] has a strange, veiled, ethereal quality, an air of difference from the others, well brought out by Pires, with Abbado and his fine players. By contrast, the opening of the D minor sounds rather tame...The other two movements are much more convincing.” Sunday Times, 16th December 2012

“The conducting is intelligently alive, in quality reminiscent of Benjamin Britten...Pires enters into the prevailing mood, her artistry as thougthful as yore...Pires shows that expressive sensitivity isn't confined to a slow tempo...Reduced forces might have enhanced the concerto's intimate character. It's a small point. These absorbing, penetrating performances deserve the widest currency.” Gramophone Magazine, January 2013

“it is the autumnal Concerto No. 27...that is perhaps better suited to the understated poetic eloquence of Maria Joao Pires's playing than the more overtly dramatic Concerto No. 20...Abbado and his Orchestra Mozart offer fine support in both Concertos, and the performances as a whole have an elegance that cannot fail to give pleasure.” BBC Music Magazine, January 2013 ****

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DG - 4790075

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Mozart: Piano Concertos Nos. 20 & 23

Mozart: Piano Concertos Nos. 20 & 23


Mozart:

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 23 in A major, K488


Hungarian pianist Annie Fischer suffered reprisals for her Jewish background, but after the Second World War she enjoyed her international breakthough with Mozart playing of gentle elegance, supple virtuosity and dramatic power.

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Warner Classics Red Line - 6365612

(CD)

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Mozart: Piano Concertos Nos. 20 & 22

Mozart: Piano Concertos Nos. 20 & 22


Mozart:

Piano Concerto No. 22 in E flat major, K482

Piano Concerto No. 20 in D minor, K466


Alto - ALC1172

(CD)

$6.00

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Mozart: Piano Concertos Nos 20, 21, 23 & 27 & Rondo K382

Mozart: Piano Concertos Nos 20, 21, 23 & 27 & Rondo K382


Mozart:

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

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 23 in A major, K488

Piano Concerto No. 27 in B flat major, K595

Rondo for Piano & Orchestra in D major, K382


EMI Masters - 6787122

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Mozart: Piano Concertos Nos. 13 & 20 & Six German Dances, KV 509

Mozart: Piano Concertos Nos. 13 & 20 & Six German Dances, KV 509


Mozart:

Piano Concerto No. 13 in C major, K415

Julius Katchen (piano)

New Symphony Orchestra of London, Peter Maag

Piano Concerto No. 20 in D minor, K466

Julius Katchen (piano)

New Symphony Orchestra of London, Peter Maag

German Dances (6), K509

London Symphony Orchestra, Peter Maag


Julius Katchen recorded two Mozart piano concertos with Peter Maag and they both appear on this CD, together with the Six German Dances, KV 509 – ‘a magnificent example of the power of a genuinely charismatic conductor’ as Tully Potter notes in his liner notes. Katchen first entered Decca’s London studios in 1947 and was still heavily involved in a major Brahms project when he died of cancer in Paris, the city that had long been his home. He made his debut at the age of ten, playing the Mozart D minor concerto. Like Peter Maag, he was a philosopher, having completed a four-year course at Haverford College in three years. A musician of immense warmth – as witnessed in these Mozart readings – his colossal technique was always understated.

Unfairly neglected, Mozart’s C major Concerto, KV 415 is a gem. At the time of this recording (1955), it was only the third to appear. Cor de Groot’s performance had the honour of being the first LP version and this was preceded by Artur Balsam’s 78rpm recording. It was to be another five years before the concerto was to be recorded again – in 1960 by Clara Haskil. The D minor Concerto is Mozart’s most Beethovenian, and indeed it is Beethoven’s cadenzas that Katchen uses for his recording. (For the C major concerto, even though Mozart’s cadenzas survive, Katchen does not play them, using one of his own in the opening movement.) Word has it that Mozart wrote his delightful set of six German Dances, KV 509 in one hour during an enjoyable trip to Prague in 1787. Unfathomably neglected, they were taped for this recording in Kingsway Hall in January 1959 and make their first appearance here since their initial release on a ten-inch LP.

“Nobody really plays Mozart like this today. Recorded in the 1950s, the Concertos are full-toned and dramatic; K415 emerges larger and more serious than usual.” BBC Music Magazine, May 2012 ***

“Katchen's Mozart is a joy, in which the musical dialogue, whether within the solo part or when it is pitted against the orchestra, provides a constant effervescent narrative.” Gramophone Magazine

“The recording is clear; the orchestral playing adept” Gramophone Magazine (Concertos)

Australian Eloquence - ELQ4803609

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$8.50

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Mozart: Piano Concertos Nos. 20 & 27

Mozart: Piano Concertos Nos. 20 & 27


Mozart:

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 27 in B flat major, K595


Without question, Dame Mitsuko Uchida is recognized as among the greatest Mozart interpreters of our time. On her latest disc she continues her series of Mozart concerto recordings with the Cleveland Orchestra, performing two of the composer’s most popular concerti: No.20 (K.466) & No.27 (K.595).

Distinctly different from her first recordings of these works, these new recordings see her directing the orchestra from the keyboard, in line with performances of Mozart’s day.

‘Mitsuko Uchida, directing Mozart concertos from the Steinway, and doing so with such ease and infectious pleasure in making music... who wants (or needs) a separate conductor?” The Chicago Tribune commented.

“[Uchida is] subtle and highly polished, never drawing attention to her virtuosity and erring on the side of understatement....Despite the profound intimacy with which she imbues both concertos, there is passion too when required...I cannot recall hearing these works performed with this degree of intimacy and subtlety.” International Record Review, March 2011

“Nothing could be more tenderly touching than No 27’s slow movement...the Cleveland Orchestra (directed from the keyboard) brood and explode on cue.” The Times, 12th February 2011 ***

“Decades after she first recorded these concertos with the English Chamber Orchestra, Uchida is recording them again, this time with the Cleveland Orchestra. All the things that made the first recording treasurable are there: the pearly, immaculate tone, the needlepoint precision, the graceful phrasing. The orchestra, too, is on terrific form.” The Telegraph, 11th February 2011 ****

“where others opt for Beethovenian struggle [in K466], she conveys, to a degree unmatched in my experience, a sense of sorrow, an almost harrowing sadness, underlining the tragedy of the work without vitiating its drama. This she does with a probing subtlety that defies concise description and sets this interpretation apart from any other known to me.” BBC Music Magazine, March 2011 *****

“[Uchida is] capable of eliciting a kaleidoscope of moods and orchestral colours...[her] poignant and beautifully expressive performance is beautifully balanced by the orchestra's illuminating accompaniment...Wonderfully fluent and effortlessly brilliant from orchestra and soloist.” Classic FM Magazine, April 2011 *****

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Decca - 4782596

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