The listener has abundant choices available for all of Mozart's piano concertos, certainly including the two late ones heard here. Yet pianist Francesco Piemontesi adds much to the dialogue here. The performance does not really fit with either the traditional or the historical-performance categories; Piemontesi plays a modern grand, but the scale of the performance, backed by the Scottish Chamber Orchestra under Andrew Manze, is modest, and Linn does well acoustically with its choice of Usher Hall in Edinburgh. Manze and ...
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The listener has abundant choices available for all of Mozart's piano concertos, certainly including the two late ones heard here. Yet pianist Francesco Piemontesi adds much to the dialogue here. The performance does not really fit with either the traditional or the historical-performance categories; Piemontesi plays a modern grand, but the scale of the performance, backed by the Scottish Chamber Orchestra under Andrew Manze, is modest, and Linn does well acoustically with its choice of Usher Hall in Edinburgh. Manze and company really deserve the co-billing they get in the graphics, because this is a performance in which piano and orchestra are intertwined to an unusual degree. Piemontesi concurs with annotator Simon P. Keefe in treating the Piano Concerto No. 26 in D major, K. 537, and Piano Concerto No. 25 in C major, K. 503 (the D major concerto comes first on the program, as a kind of curtain raiser), as decisive new strokes in Mozart's concerto writing, and indeed as two of the most progressive...
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