Mozart: Piano Concertos Nos.9 & 25 (K.271 'Jeunehomme' & K.503) Alfred Brendel

• Piano Concerto No.9 in E flat, K.271 - Jeunehomme
• 1 1. Allegro 10:39
• 2 2. Andantino 13:00
• 3 3. Rondeau (Presto) - Menuetto 10:48
• Piano Concerto No.25 in C, K.503
• 4 1. Allegro maestoso 15:35
• 5 2. Andante 08:12
• 6 3. Allegretto 09:24
• Total Runtime 01:07:38

Info zu Mozart: Piano Concertos Nos.9 & 25 (K.271 'Jeunehomme' & K.503)

Although it is not one of Mozart's most famous piano concertos, K. 271 in E-Flat is one of his most extraordinary. It is in many ways the first great piano concerto, in the modern sense of the term, and Mozart was just 21 when he wrote it. Melodically rich and full of imaginative touches -- like the gorgeous, gentle minuet that lies in the middle of the rollicking finale -- the concerto is already vintage Mozart. Ironically, though, it takes musicians of real sagacity to realize its youthful charm. Alfred Brendel, now in his 70s, does not sparkle in this work as he did on his previous recordings, but there is a quiet beauty to his playing now that seems absolutely right. And while he has pared down his sound, there is even more color and subtlety of shading than before. This sensitivity is even more apparent in the C Major Concerto, K. 503, a work bursting with brilliant pageantry. Brendel seems uninterested in the orchestra's pomp, etching out his part with lyrical dignity -- a touching and dramatic effect. Sir Charles Mackerras is a superb partner, and the Scottish Chamber Orchestra plays with heart. Not your usual Mozart, then, and all the better for it.

'Bet I’m not the only one who had long thought the nickname for the K271 piano concerto written by the 21-year-old Mozart referred to it having been penned by the “young man” genius. When in fact it was the actual last name of a female French pianist for whom Mozart wrote the concerto! Being so early in his ouvre, this concerto has been recorded previously on the harpsichord, which is my personal preference. But Brendel does a fine job of delivering the delicate passages as well as making use of the piano’s greater emotional range in the unusual and extensive ten-minute long Rondo-Finale. This is the only one of his concertos in which Mozart allows the piano soloist to introduce the opening theme of the first movement. No. 25 is of course a more virtuosic work, and both concertos have extensive improvised cadenzas. The piano/orchestral balance is just right. I found these among the most enjoyable Mozart piano concerto recordings I have ever auditioned.' (John Sunier, Audiophile Audition)

'Brendel's Mozart has an instinctive rightness and authority rare among pianists of any era. Compared with his Seventies recordings, with Marriner and the ASMF, these new performances are that much more reflective, the tone often leaner but even more subtly coloured than before.' (BBC Music Magazine)

Alfred Brendel, piano
Scottish Chamber Orchestra
Sir Charles Mackerras, conductor

Recorded at Usher Hall, Edinburgh, July 2001

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