Wolfang Amadeus Mozart & Franz Joseph Haydn (Remastered) Alexander Lonquich & Nikita Magaloff

• Wolfang Amadeus Mozart (1756 - 1791): Concerto in mi bemolle maggiore per due pianoforti e orchestra K 365:
• 1 Mozart: Concerto in mi bemolle maggiore per due pianoforti e orchestra K 365: Allegro 10:23
• 2 Mozart: Concerto in mi bemolle maggiore per due pianoforti e orchestra K 365: Andante 07:39
• 3 Mozart: Concerto in mi bemolle maggiore per due pianoforti e orchestra K 365: Rondò. Allegro 07:19
• Concerto in la maggiore per pianoforte e orchestra K 488:
• 4 Mozart: Concerto in la maggiore per pianoforte e orchestra K 488: Allegro 11:56
• 5 Mozart: Concerto in la maggiore per pianoforte e orchestra K 488: Andante 07:05
• 6 Mozart: Concerto in la maggiore per pianoforte e orchestra K 488: Presto 08:43
• Franz Joseph Haydn (1732 - 1809): Concerto in re maggiore per pianoforte orchestra Hob. XVIII n.11:
• 7 Haydn: Concerto in re maggiore per pianoforte orchestra Hob. XVIII n.11: Vivace 08:21
• 8 Haydn: Concerto in re maggiore per pianoforte orchestra Hob. XVIII n.11: Un poco adagio 06:31
• 9 Haydn: Concerto in re maggiore per pianoforte orchestra Hob. XVIII n.11: Rondò all’ungherese Allegro assai 04:37
• Total Runtime 01:12:34

Info zu Wolfang Amadeus Mozart & Franz Joseph Haydn (Remastered)

Wolfgang Amadeus Mozart: In terms of the subtlety of many of the instrumental passages, the originality and perfection of form, and the intensity of its expressivity, the concerto in A major, written during the draught of “Figaro”, is one of the aristocrats among Mozart’s concertos, and is therefore set as a pinnacle of his creativity. The delicacy with which Mozart defines the character of the first movement from the outset, the painful solitude with which the wonderful Adagio is voiced, the return to life, with its inkling of nostalgic fun, of the Finale, kaleidoscopic in its tunes and rhythms, estranges this masterpiece from the genre of brilliant and mundane entertainment, and transforms it into a private space, a sphere wherein one could say that Mozart himself is colloquising with the music. Through this concerto we leamed, as in few other works, that if his music would seem to be extraneous to the motions of renouncement or romantic confession, it is not through a kind of sentimental modesty, but rather because in this music there lives an absolute identification between the words of subjectivity and musical language. ...

Franz Joseph Haydn: The patient and tenacious craftsman of the purest of musical structures as well as the authentic founder of that instrumental genre with which the extraordinary vatality of Viennese classicism is traditionally associated, Franz Joseph Haydn, was less attracted by the solo concerto than by other forms. Whereas his inexaustible creative faculties led, in full maturity and in accordance with a variety which remains above suspicion, to those wonderful fruits of the second half of the 18th century, the quartet and the symphony, the concerto had to await Mozart before its fundamental principals (already, it must be said at a superb level), were to reach the peak: of their development. It is sufficient to consider the mere thirty compositions of this kind (written, furthermore, for the most part during the early years of Haydn’s service to Prince Esterházy),and compare this scant number to the more significant other works which his untiring creative drive reserved for more favoured forms.

Alexander Lonquich, piano
Nikita Magaloff, piano

Alexander Lonquich
Born in 1960 in Trier, Germany, Alexander Lonquich studied in Cologne with Astrid Schmidt, with Neuhaus at the Conservatory there, and, from 1972, at the Academy of Music. Between 1976 and 1980, he continued his studies in Essen with Paul Badura Skoda, and following this, went on to courses in advanced studies with A. Jasinski in Stüttgart, and Ilonka Deckers in Milan. After several successful performances in Germany, he won first prize at the “A. Casagrande” International Competition in Terni in 1977 and since then each year he has been a guest of the most prestigious Italian concert societies. He tours regularly abroad. Lonquich is passionately committed to chamber music collaborating frequently as a duet with Nikita Magaloff, Paul Badura Skoda, Dino Asciolla, Pietro Borgonovo and Michael Faust as a Duet.

Nikita Magaloff
Born in Petersburg in 1912, Nikita Magaloff began his studies in Finland (where his family had taken shelter after the 1917 revolution) guided by Alessandro Siloti, Liszt’s pupil and Rachmaninoff’s cousin and teacher. Afterwards he studied in Paris, under the guidance of Isidor Philipp. When he was 17 he obtained his diploma and was awarded the first prize. On this occasion, Maurice Ravel said about him: «A great musician is born, a really extraordinary one». He achieved his first international successes playing with Joseph Szigeti, the famous violinist. After the war he was one of the first musicians who played in Paris and, after 1947, in USA. Among the countless outstanding events of his career may be mentionned the first performance of Prokofiev’s «VII Sonata», that of Strawinsky’s «Capriccio» under the direction of the composer, «tournées» in Europe, USA, Japan and Israel. He has been often and regurarly present among the judges of the most important intemational competitions (Leeds, Warsaw, Bruxelles, Lucerne) always alert to the eventual discovery of talented persons among the young generations. He recorded pieces of music from Liszt Tchaikowsky, Weber, Srtawinsky'. Brahms, Granados and, recently, Chopins’s «opera omnia». Nikita Magaloff is an unexecelled interpreter of Chopin’s works which he presented in the most important European cities.

Booklet für Wolfang Amadeus Mozart & Franz Joseph Haydn (Remastered)