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Mozart Piano Concertos

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  • Mozart - Piano Concerto 20 & 21 (Speakers Corner) Mozart - Piano Concerto 20 & 21 (Speakers Corner) Quick View

    $34.99
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    Mozart - Piano Concerto 20 & 21 (Speakers Corner)

    Friedrich Gulda is known to all. He is the musical wizard with the embroidered cap, an artist who is equally at home in jazz, the Viennese lied, or the works of the Viennese Classic. Gulda might have only performed a small number of his Austrian compatriot's 27 piano concerto but with these few he certainly created a sensation. That the present recording of the Concertos Nos. 20 and 21, even after 25 years, is still regarded as ranking among the very best performances is something that can be heard after just a few bars. The minor-key first movement of No. 20 begins with a measured tempo and precise articulation, then the piano joins in with almost sober clarity and proceeds to lead a concentrated, tightly enmeshed conversation with the orchestra.



    The C major Concerto sparkles brightly with its thrilling, virtuoso part-writing and transparent, almost chamber-like instrumental ensemble. Details left only fleetingly touched and casual phrasing will be sought in vain in this highly analytical interpretation of Mozart's musical intentions. The listener will do well here to forget the popular concept of a fun-loving, high-spirited Mozart and to recognize the ardent, passionate side of the composer.



    Musicians:



    • Friedrich Gulda (piano)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1974 at Grosser Saal, Musikverein, Vienna, by GÜnter Hermanns

    Production: Rainer Brock





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Concerto for Piano and Orchestra No. 20 in D Minor
    Allegro
    Romance
    Rondo


    Concerto for Piano and Orchestra No. 21 in C Major, K. 467
    Allegro maestoso
    Andante
    Allegro vivace assai

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 20 & 24 Mozart: Piano Concertos Nos. 20 & 24 Quick View

    $24.99
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    x

    Mozart: Piano Concertos Nos. 20 & 24

    In January 2016, Decca celebrated Alfred Brendel's artistic achievements by releasing his complete Philips
    recordings in a single 114 CD set for the first time.


    Now, Decca proudly presents iconic Brendel albums from the
    analogue era on 180g heavyweight vinyl. Presented with original artwork and pressed at optimal GmbH, each
    release has been carefully mastered from original analogue sources at Abbey Road Studios. This LP includes
    Mozart's Piano Concertos K.466 and K.491.

    1. Allegro
    2. Romance
    3. Rondo (Allegro Assai)
    4. Allegro
    5. Larghetto
    6. Allegretto
    Alfred Brendel
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart Piano Concertos 20 & 27 (Pre-Order) Mozart Piano Concertos 20 & 27 (Pre-Order) Quick View

    $54.99
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    x

    Mozart Piano Concertos 20 & 27 (Pre-Order)


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Original Recordings Group brings the legendary masterpieces of the past, The Mozart Piano Concerto Nos. 20 and 27 with piano by Sir Clifford Curzon conducted by Benjamin Britten, to Audiophile 180g 45rpm Vinyl.


    A collaborative work from two of the world's greatest Mozart admirers - Sir Clifford Curzon, a British piano virtuoso and Benjamin Britten, a composer / conductor, have brilliantly revived original recordings.


    In this musical performance of Mozart's Piano Concertos No. 20 & 27 you will find Curzon's infinite obsession and passion for performance, and Curzon's way of life as an artist, one who desired absolute perfection in his performance without compromise.


    This performance was finally completed as recorded material after a number of trials in recording sessions, soon becoming a well known masterpiece.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    Sir Clifford Curzon, piano

    English Chamber orchestra

    Benjamin Britten, conductor


    Original recording date: September 1970


    This title is not eligible for discount.

    Piano Concerto No. 20 in d minor
    1. Allegro
    2. Romance
    3. Rondo (Allegro assai)
    Piano Concerto No. 27 in B flat Major
    4. Allegro
    5. Larghetto
    6. Allegro
    Benjamin Britten & The English Chamber Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Mozart: Piano Concertos Nos. 17 & 21 Mozart: Piano Concertos Nos. 17 & 21 Quick View

    $25.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 17 & 21

    Ashkenazy's cycle is unique in that one experiences the subtle shades of Mozart's music . . . Ashkenazy . . .uncovers all manner of subtle musical expression beneath the music's surfaces . . . he displays an independence of thought and spirit that has one rethinking what this music is about. - BBC Music Magazine
    Mozart: Piano Concerto No.21 in C Major, K.467
    1. Allegro
    2. Andante
    3. Allegro vivace assai


    Mozart: Piano Concerto No.17 in G Major, K.453
    4. Allegro
    5. Andante
    6. Allegretto - Finale: Presto

    Vladimir Ashkenazy
    $25.99
    Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concerto No.25 & No.20 Mozart: Piano Concerto No.25 & No.20 Quick View

    $25.99
    Buy Now
    x

    Mozart: Piano Concerto No.25 & No.20

    The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart. The legendary pianist and conductor add the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.


    Both concertos were recorded with Claudio Abbado's Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching
    for new superlatives. The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart's Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni.


    With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786. This release is Martha Argerich's first recording of solo concertos by Mozart on Deutsche Grammophon.

    1. Allegro maestoso [Live]
    2. Andante [Live]
    3. Allegretto [Live]
    4. Allegro [Live]
    5. Romance [Live]
    6. Rondo (Allegro assai) [Live]
    Martha Argerich / Claudio Abbado / Orchestra Mozart
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner)

    If you want to get to the bottom of the cheerfulness and gallantry in Mozart's oeuvre, you can do no better than taking as a contrast one of his compositions that has always been described as gloomy and demonic.

    Putting aside the often-cited vocal heavyweights such as Don Giovanni and Requiem, Mozart's Piano Concerto No. 20, K. 466 occupies a distinguished position as a resonant counterpart to the charming music he wrote for social occasions in that it takes on a new dimension in his instrumental music. The choice of a minor key, unusual for a concerto, lends a dramatic tone to the composition, whereby the soloist and orchestra engage with one another in sharp contrast. Rudolf Serkin, one of the greatest interpreters of Mozart's piano works, allows the immense energy of this concerto to slip through his fingers with due care. He battles his way through the weighty first movement with enthusiasm and verve, lets his fingertips dance daintily through the cantilena of the Romance, and then rousingly celebrates the passionate and fiery Finale with a bell-like touch.

    On the reverse side the Festival Orchestra rounds off this inspiring performance with the filigree and charmingly effervescent Concerto in F major, K. 413 from Mozart's Viennese period - as cheerful as it is gallant.

    Musicians:

    • Rudolf Serkin (piano)
    • The Marlboro Festival Orchestra conducted by Alexander Schneider

    Recording: August 1957 in Marlboro, VT

    About Speakers Corner

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky), but even in this particular case we used the analogue tapes for cutting.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    Piano Concerto No. 20 In D Minor

    I- Allegro
    II- Romance
    III- Rondo; Allegro Assai
    Piano Concerto No. 11 In F Major
    I- Allegro
    II- Larghetto
    III- Tempo Di Menuetto
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rhapsody In Blue (Limited Edition) (Out Of Stock) Rhapsody In Blue (Limited Edition) (Out Of Stock) Quick View

    $69.99
    x

    Rhapsody In Blue (Limited Edition) (Out Of Stock)

    Double LP Stereo Edition, Limited to 496 Copies


    180 Gram Reissue, Heavy Stock Jacket


    The legacy of analysis, discussion and even controversy that for nearly a century has continued to envelop the music of George Gershwin, with its eclecticism and its amphibious nature, its mixture of classical and jazz, highbrow and lowbrow, is now re-presented and perhaps cleared up here once and for all before our eyes. An orchestra that's not merely classical, but crowned with classical glory, the Leipzig Gewandhaus, one of the oldest orchestras in the world, has made this recording of Gershwin played by Stefano Bollani, a pianist with a superb jazz background, and conducted by Riccardo Chailly - a champion of 20th Century composers.


    The performance of the Concerto is the finest I have ever heard. Gershwin may have doffed his hat to Rachmaninov, Puccini and Ravel at various junctures in the score but this, as Chailly and jazz pianist Stefano Bollani are intent on reminding us, is an American Jazz Age concerto. Inhibitions are left backstage and, while all parties are alive to the smallest detail, there is an irreverence and spontaneity which capture the spirit of the work like no other. Applause, too, for the atmospheric solo trumpet (and the fourth horn's sforzandos!) in the slow movement. Catfish Row, Gershwin's own five-movement orchestral suite from Porgy and Bess (not to be confused with Robert Russell Bennett's Symphonic Suite), provides a bridge and welcome contrast between the Rhapsody and the Concerto, containing as it does some of Gershwin's darkest music.


    Rhapsody in Blue opens the disc. It's a cracking account that inhabits the same world as the Concerto and is played in GrofÉ's original jazz-band version, from which the piece always benefits. Here again, Bollani's exuberance and panache are infectious - until he can't resist rewriting bars 243-75 and, more bizarrely, improvising the 26 bars after 12 minutes, 24 seconds in, in a style reminiscent of Bill Evans. If such anachronisms as Schnabel's cadenzas to Mozart's piano concertos don't bother you, then neither will Bollani's interpolations.... That said, there is no denying the merits of this fabulous disc superbly engineered by Philip Siney - and with the best cover shot of the year. - Gramophone, January 2010

    1. Rhapsody In Blue
    2. Catfish Row - Symphonic Suite
    -Catfish Row
    -Porgy Sings
    -Fugue
    -Hurricane
    3. Good Mornin' Sistuh!
    4. Concerto In F For Piano And Orchestra - Allegro
    5. Adagio - Andante Con Moto
    6. Allegro Agitato
    7. Rialto Ripples
    George Gershwin
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
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