I think No.17 is the best Mozart's piano concertos. And this Malcolm Bilson's performance is the most wonderful. The first movement is fantastic, like the sound of bubbles in the sea.
any evidence of any soloists in Mozart's time, rather than mere treaty-tricksters, doubling the melody as Mike does here? What would be the point of such a dubious venture?
After defeat, you delete your comment to erase the record. Don't worry, bud I got email notficiations to repost what you tried to erase. He isn't doubling the melody anyway, but rather the accompaniment. .
@@TehKaiser nobody was addressing the questions. He does double melody lines, he does it here and you can see him doing it a lot on the video of the 9th all the time. My question was about soloists in Mozart's day, not what he wrote in the score or what it says on any page, whether written, engraved or carved into a sheep-dog's testicle. Second question refers to purpose.
@@chrish12345 Besides, if no evidence exists, that means the ultimate question in unanswerable either way; with the antagonists still relying on scores of other masters such as Haydn and other contemporaries to shakily prove it wasn't customary. It also is irrelevant trivia even if it was answerable since that was then, and this is now. and thus, the artist has nothing more than "a suo piacere" to play however the hell he wants in modern times. It also means it's a rhetorical question that does not matter. Every pianist is a cover artist, and in the echo chamber that is classical training, they are relatively clunky and awkward performers who lack compositional inspiration compared to the master that is Mozart.
@@chrish12345 The only time there is any perceptible doubling is when the orchestral basses and cellos are SPECIFICALLY ORDERED to play in rhythmic unison with the winds and the higher strings for the little fanfare at the end of the orchestral section. That is still accompanying the melody since the basses don't have the melody. There is no deviation from the orchestral bass on the part of the pianoforte anywhere where the sections are properly deemed orchestral-only; that is not a surprise. it's not like i cannot read music to check if actual liberties are taken, you know. Have you even played this work, because I certainly have studied the first movement to perform in a reduced duo(no, I did not play the bass notes because it's a modern piano). So don't even think you can pull a fast one on me regarding the melody of this work. Quarter, dotted-eight, sixteenth, quarter, quarter, dotted-half, dotted-eight, sixteenth starts the work's first two bars. The basses play one little low G in measure 2. The piano definitely not doubling the strings there.
i'd fprgotten how good Bilson is in these recordings. Great simplicity but also very nuanced.
One of the most beautifully-composed piano concerto of Mozart! bravo!
Yes it is one of my fav is now #26 please listen
I think No.17 is the best Mozart's piano concertos.
And this Malcolm Bilson's performance is the most wonderful.
The first movement is fantastic, like the sound of bubbles in the sea.
THE BEST RECORDING OF ALL MOZART CONCERTOS
11:30 II. Andante
22:01 III. Allegretto; Presto
Meraviglia assoluta. Interpretazione bellissima!
Maravilhoso!! Como dizemos em Portuguese. Wonderful both music and interpretation. Obrigada! Thank you !
I love the English Baroque Soloists! I just bought the complete Mozart piano concerto album on itunes. Great investment for anyone interested!
I. Allegro - 0:01
II. Andante - 11:30
III. Allegretto - 22:01
I Allegro - 0:00
II Andante - 11:29
III Allegretto - 22:00
聽得感動～～
"Meraviglioso! Bravo!" We say in Italian.
Minunat! We say in Romanian.
Geweldig! As we say in Ertvelde.
Amazingly amazing
Es una delicia para los oídos 3:35
ANybody know whose cadenzas he plays?
The dogs bollox we say in south London
wonderful! (27:40 we say in "hebrew": "Yalla, balagan!!"
1:26
I. Allegro
11:30 II. Andante
22:01 III. Allegretto; Presto
класс!!!!!!!
any evidence of any soloists in Mozart's time, rather than mere treaty-tricksters, doubling the melody as Mike does here? What would be the point of such a dubious venture?
After defeat, you delete your comment to erase the record. Don't worry, bud I got email notficiations to repost what you tried to erase.
He isn't doubling the melody anyway, but rather the accompaniment. .
@@TehKaiser nobody was addressing the questions. He does double melody lines, he does it here and you can see him doing it a lot on the video of the 9th all the time. My question was about soloists in Mozart's day, not what he wrote in the score or what it says on any page, whether written, engraved or carved into a sheep-dog's testicle. Second question refers to purpose.
@@chrish12345I replied in my thread. You're not deleting crap this time.
@@chrish12345 Besides, if no evidence exists, that means the ultimate question in unanswerable either way; with the antagonists still relying on scores of other masters such as Haydn and other contemporaries to shakily prove it wasn't customary. It also is irrelevant trivia even if it was answerable since that was then, and this is now.
and thus, the artist has nothing more than "a suo piacere" to play however the hell he wants in modern times. It also means it's a rhetorical question that does not matter. Every pianist is a cover artist, and in the echo chamber that is classical training, they are relatively clunky and awkward performers who lack compositional inspiration compared to the master that is Mozart.
@@chrish12345 The only time there is any perceptible doubling is when the orchestral basses and cellos are SPECIFICALLY ORDERED to play in rhythmic unison with the winds and the higher strings for the little fanfare at the end of the orchestral section. That is still accompanying the melody since the basses don't have the melody. There is no deviation from the orchestral bass on the part of the pianoforte anywhere where the sections are properly deemed orchestral-only; that is not a surprise. it's not like i cannot read music to check if actual liberties are taken, you know.
Have you even played this work, because I certainly have studied the first movement to perform in a reduced duo(no, I did not play the bass notes because it's a modern piano). So don't even think you can pull a fast one on me regarding the melody of this work. Quarter, dotted-eight, sixteenth, quarter, quarter, dotted-half, dotted-eight, sixteenth starts the work's first two bars.
The basses play one little low G in measure 2. The piano definitely not doubling the strings there.
Papageno couldn't play this piano part.