Park | Eschenbach | Mozart: Klavierkonzert Nr. 23 in A-Dur, KV 488 | SWR Symphonieorchester
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- Опубликовано: 30 июл 2024
- Wolfgang Amadeus Mozart: Klavierkonzert Nr. 23 in A-Dur, KV 488 | Liederhalle Stuttgart, November 2017
00:00 - I. Allegro
11:33 - II. Adagio
18:58 - III. Allegro assai
26:39 - Applaus
Christopher Park, Klavier
SWR Symphonieorchester
Dirigent: Christoph Eschenbach
SWR Classic - Klangvielfalt erleben!
Web: www.SWRClassic.de/konzertvideos
Facebook: / swrclassic
Twitter: / swrsymphonie 
Видеоклипы
00:00 - I. Allegro
11:33 - II. Adagio
18:58 - III. Allegro assai
26:39 - Applaus
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Superlative on every count, not only composer and performers but also the entire production team, video editing, sound engineers, etc. Congratulations.
Une merveilleuse oeuvre de plus composée par cet immense génie qu'était Mozart ! Un grand merci à ce bel orchestre et à ce jeune pianiste virtuose . Un adagio d'une beauté divine !
Welch ein wunderschönes Werk ! Mozart , der so himmlische Melodien komponiert hat, wird nie in Vergessenheit geraten !
Ganz unmöglich ! Seine Musik ist reine Schönheit, Feinfühlichkeit und Zärtlichkeit ....Ein wahrer Genuss für die Seele !
Ein begabter junger Pianist und sehr gute Musiker . Vielen Dank !
vuoi dire Albinea?
Bravo~ So beautiful!!♡
very beautifully performed....i love it!
this is soooo good, thanks
Does anyone else notice that this was two separate recordings put together? Watch the concertmaster.... in some scenes, she's wearing a short-sleeved dress and other scenes she's in no sleeves. Some other members also have outfit changes lol
Very well observed! Due to production-related reasons we sometimes take parts from two recordings and mix them into one video.
SWR Classic That's what I figured. This was flawlessly done, the transitions are so smooth. If it weren't for the outfits, I would have never known.
You certainly had me fooled - I never for a moment doubted it was a single performance
Admirável interpretação.
ER IST SEHR BEGABT.BRAWO¨!!!!!!
👌
Wunderschön. Entdeckt dank Jane Hawk.
Can anyone help?
I heard a similiar passage(?) in another musical piece. I can't remember the name of the one that I'm looking for, but it sound very close to 16:14-16:17.
A.I. Artificial Intelligence
As a layperson in music, I must seek the log in my own eye before commenting upon the possibly imagined splinter in the eye of an evidently talented and technically accomplished musician. What I interpret as mannerism in the Adagio movement may simply reflect prejudices acquired over many years. Sometimes it is better to feel unsettled than to be complacent. Having allowed myself a probably unwarranted comment, I none the less wish to sincerely thank the soloist, orchestra and conductor for sharing their performance with me.
In retrospect my critique is untenable. It represents only a personal preference for more decisive interpretation as that of Maurizio Pollini and the Wiener Philomoniker under Karl Boehm. As such it is irrelevant.
Ihre Art und Weise, sich auszudrücken, ist schon etwas prätentiös. Kommen Sie runter!
Thank you for your insightful reply, eloquently expressed.
You`re welcome.
Only the brave hide their comments behind anonymity.
4 years ago
Kennedy Arts Center
(anonymous program notes, Wikipedia)
K. 488 does not open with a fanfare or any kind of powerful "curtain-raising" motif, as many other concertos do. It begins with a gentle melody, played piano, setting the stage for a movement with a unique blend of moods: a quiet serenity with occasional touches of wistfulness, expressed by the many lowered notes (naturals instead of sharps), as in the very first measure. In the orchestration, one notes the absence of oboes and the presence of clarinets, resulting in a special, darker-hued sound.
As in most mature concertos, the dialog of the piano and the orchestra cannot be reduced to a simple alternation of "tutti" and "solo" sections; the soloist engages in a constant exchange of ideas with smaller or larger groups from the ensemble - an exchange that becomes particularly animated in the central portion of the movement where the strings begin a new theme that is immediately embellished by the piano and elaborated on in many variations by the orchestra.
For this movement, we have an original cadenza by Mozart. This cadenza tells us a great deal about Mozart the improviser: besides virtuosic passages, it also contains expressive, singing music, and expands on the concerto's thematic material in simple yet ingenious ways.
The emotional high point in Mozart's mature piano concertos is often the second movement. The Adagio of K. 488 is, however, exceptional even among Mozart's concertos. Its dominating sentiment in many ways presages musical Romanticism. The melody moves in the quiet rhythm of a siciliano, but contains many expressive wide leaps, emphasizing chromatic half-steps and the melancholy-sounding "Neapolitan sixth" chord. The key of F-sharp minor is extremely rare in Mozart's output: in fact, this is the only time he ever used it as the main tonality of an entire movement. This unusual choice contributes to the very special poignancy of the music that is much easier to feel than to describe.
The last movement, marked "Allegro assai," is a playful romp with a multitude of spirited melodies. It is an extended "sonata-rondo," which means that a recurrent first theme alternates with a number of episodes (rondo), but also that one of those episodes also returns, as a second theme would do in a sonata recapitulation. The fusion of these two forms, popular in the late 18th century, results in a structure that allows us to enjoy the wonderful melodies over and over again, while the alternations and transformations of those melodies afford a seemingly inexhaustible diversity.
Mozart was well aware of the exceptional richness of this concerto. It was one of a select group of works he sent out to a prospective patron, Prince Fürstenberg in Donaueschingen. In an accompanying letter to Sebastian Winter, a former servant of the Mozart family who now worked for the Prince, the composer wrote that these were "compositions which I keep for myself or for a small circle of music-lovers and connoisseurs (who promise not to let them out of their hands)." He wanted the Prince to be assured that these compositions had not been circulating widely; and he did not hide his hopes that His Highness would commission symphonies, concertos and chamber works on a regular basis, for performances by the Prince's own orchestra. Mozart received a total of 143.5 florins for the scores he had sent (four symphonies, five concertos and three chamber works)-which paid for about three months' rent for his apartment on the Schulerstrasse. But the additional commissions Mozart was hoping for came to nothing.
Thank you for your very detailed explanations. Helps certainly to get a deeper insight in this very special concert - even for somebody, who has Mozart in his heart as one of his very favorite composers.
2te Teil shehr beeindrucksvoll gespielt von pianist sowie Orchester
the pianist only added some notes from this world
⚘⚘⚘⚘⚘
Pretty sure the A major concerto is what they play when you get to the Pearly Gates....
What's the name of the pianist??
It's Christopher Park! :)
Why no comments?
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THE Jake360 c ..
90
Vanina Acevedo
No comments show up for me :c
Kennedy Arts Center
(anonymous program notes, Wikipedia)
K. 488 does not open with a fanfare or any kind of powerful "curtain-raising" motif, as many other concertos do. It begins with a gentle melody, played piano, setting the stage for a movement with a unique blend of moods: a quiet serenity with occasional touches of wistfulness, expressed by the many lowered notes (naturals instead of sharps), as in the very first measure. In the orchestration, one notes the absence of oboes and the presence of clarinets, resulting in a special, darker-hued sound.
As in most mature concertos, the dialog of the piano and the orchestra cannot be reduced to a simple alternation of "tutti" and "solo" sections; the soloist engages in a constant exchange of ideas with smaller or larger groups from the ensemble - an exchange that becomes particularly animated in the central portion of the movement where the strings begin a new theme that is immediately embellished by the piano and elaborated on in many variations by the orchestra.
For this movement, we have an original cadenza by Mozart. This cadenza tells us a great deal about Mozart the improviser: besides virtuosic passages, it also contains expressive, singing music, and expands on the concerto's thematic material in simple yet ingenious ways.
The emotional high point in Mozart's mature piano concertos is often the second movement. The Adagio of K. 488 is, however, exceptional even among Mozart's concertos. Its dominating sentiment in many ways presages musical Romanticism. The melody moves in the quiet rhythm of a siciliano, but contains many expressive wide leaps, emphasizing chromatic half-steps and the melancholy-sounding "Neapolitan sixth" chord. The key of F-sharp minor is extremely rare in Mozart's output: in fact, this is the only time he ever used it as the main tonality of an entire movement. This unusual choice contributes to the very special poignancy of the music that is much easier to feel than to describe.
The last movement, marked "Allegro assai," is a playful romp with a multitude of spirited melodies. It is an extended "sonata-rondo," which means that a recurrent first theme alternates with a number of episodes (rondo), but also that one of those episodes also returns, as a second theme would do in a sonata recapitulation. The fusion of these two forms, popular in the late 18th century, results in a structure that allows us to enjoy the wonderful melodies over and over again, while the alternations and transformations of those melodies afford a seemingly inexhaustible diversity.
Mozart was well aware of the exceptional richness of this concerto. It was one of a select group of works he sent out to a prospective patron, Prince Fürstenberg in Donaueschingen. In an accompanying letter to Sebastian Winter, a former servant of the Mozart family who now worked for the Prince, the composer wrote that these were "compositions which I keep for myself or for a small circle of music-lovers and connoisseurs (who promise not to let them out of their hands)." He wanted the Prince to be assured that these compositions had not been circulating widely; and he did not hide his hopes that His Highness would commission symphonies, concertos and chamber works on a regular basis, for performances by the Prince's own orchestra. Mozart received a total of 143.5 florins for the scores he had sent (four symphonies, five concertos and three chamber works)-which paid for about three months' rent for his apartment on the Schulerstrasse. But the additional commissions Mozart was hoping for came to nothing.
@@adrianjames7968 Oh! Thank you so much for posting those wonderful comments!
mein schüler philippe sudan hat gespieli in olten schweiz¨!!!!!!!
geeks 🤓🤓
Park non mi piace in questa circostanza
He certainly will suffer a nervous breakdown because of your displease ;-)
I really really reallllllly hate opera “classics “ like clock orange creazzy