🔊 Download high-fidelity classical music: classicalmusicreference.com/ Wolfgang Amadeus Mozart (1756-1791) - Piano Concertos 20-27. *Click to activate the English subtitles for the presentation* (00:00-05:43) A very big « THANKS » to Sony Music who authorized us to release this recording. Piano Concerto No.20 in D minor, K.466 Ⅰ. Allegro (00:00) Piano Concerto No.20 in D minor, K.466 II. Romance (13:34) Piano Concerto No.20 in D minor, K.466 III. Rondo: Allegro assai (22:31) Piano Concerto No.21 in C major, K.467 Ⅰ. Allegro maestoso (30:28) Piano Concerto No.21 in C major, K.467 II. Andante (44:27) Piano Concerto No.21 in C major, K.467 III. Allegro vivace assai (50:39) Piano Concerto No. 22 in E flat Major, K. 482 - 1. Allegro (57:47) Piano Concerto No. 22 in E flat Major, K. 482 - 2. Andante (1:10:53) Piano Concerto No. 22 in E flat Major, K. 482 - 3. Allegro (1:19:30) Piano Concerto No. 23 in A Major K. 488 - 1. Allegro (1:31:20) Piano Concerto No. 23 in A Major K. 488 - 2. Adagio (1:41:57) Piano Concerto No. 23 in A Major K. 488 - 3. Allegro Assai (1:47:30) Piano Concerto No. 24 in C Minor K. 491 - 1. Allegro (1:55:27) Piano Concerto No. 24 in C Minor K. 491 - 2. Larghetto (2:08:24) Piano Concerto No. 24 in C Minor K. 491 - 3. Allegretto (2:15:23) Piano Concerto No. 25 in C Major K. 503 - 1. Allegro (2:24:47) Piano Concerto No. 25 in C Major K. 503 - 2. Andante (2:39:38) Piano Concerto No. 25 in C Major K. 503 - 3. Allegretto (2:45:48) Piano Concerto No. 26 in D Major K. 537 - 1. Allegro (2:55:10) Piano Concerto No. 26 in D Major K. 537 - 2. Larghetto (3:09:18) Piano Concerto No. 26 in D Major K. 537 - 3. Allegretto (3:15:06) Piano Concerto No. 27 in B-Flat Major K. 595 - 1. Allegro (3:27:00) Piano Concerto No. 27 in B-Flat Major K. 595 - 2. Larghetto (3:40:29) Piano Concerto No. 27 in B-Flat Major K. 595 - 3. Allegro (3:48:17) Piano : Lili Kraus Vienna Festival Orchestra Conductor : Stephen Simon Recorded in 1965-66 New Mastering in 2017 by AB for CMMR 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 Follow us on Spotify (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Les concertos que Mozart a écrits pour son instrument favori jouent dans l'histoire de leur genre un rôle comparable à celui joué dans l'histoire de la symphonie par les neuf chefs-d'œuvre de Beethoven. De même que la symphonie beethovénienne a déterminé la forme du genre pour près d'un siècle, de même les concertos pour piano de Mozart, par leur nombre et par la grande beauté de la plupart d'entre eux, sont à l'origine du concerto moderne et ont tracé les lignes selon lesquelles il s'est pendant longtemps développé. Le défi pour les compositeurs de la fin du XVIIIe siècle était de concilier les caractéristiques les plus fortes de la forme concerto baroque (contrastes timbraux distincts entre un instrumentiste soliste et un orchestre, plus une brillante écriture en solo) avec le nouveau style de sonate-allegro. Lui-même virtuose accompli, Mozart a élevé la fonction de pianiste soliste à de nouveaux niveaux d'expression, de technique et d'élan dramatique. Par conséquent, le piano et l'orchestre n'étaient pas simplement des partenaires égaux, mais des personnages distincts à part entière. Entre tous les grands compositeurs, Mozart est celui qui a enrichi la bibliothèque du genre du plus grand nombre de chefs-d'œuvre. Chez la plupart des maîtres, les concertos tiennent une place relativement petite, beaucoup plus petite, par exemple, que les symphonies ou les quatuors. Chez lui, au contraire, ils sont plus nombreux que n'importe quelles autres compositions, à l'exception des symphonies. Cependant, aux yeux du musicien qui se préoccupe moins de l'histoire de la forme que de la personnalité de chaque œuvre, de la pensée qui l'inspire et de la joie qu'elle peut procurer, ses concertos sont encore plus précieux, car ils constituent une source intarissable de jouissance artistique. Ils forment un groupe de chefs-d'œuvre qu'on pratique continuellement sans jamais s'en lasser. Dans leur diversité, ils correspondent aux états d'âme les plus variés, depuis le contentement où nous demandons l'art d'être une simple distraction, délicate plutôt que profonde, depuis la joie de vivre franche et animale, la santé physique et morale et le parfait équilibre de toutes les facultés, jusqu'à la mélancolie, la douleur et même la révolte, jusqu'à cette sérénité « olympienne » qui atteint l'air vivifiant des hauts sommets. Il y a peu de moments de notre vie intérieure qui ne retrouvent dans l'un ou l'autre le tonique dont ils ont besoin. C'est là la marque des plus grandes œuvres et elle permet de placer ces concertos parmi ce que la musique a produit de plus durable. L'uniformité relative qu'au premier abord on croit constater entre eux disparaît devant l'examen. L'émotion ne se reproduit jamais identique d'une œuvre à l'autre ; une physionomie particulière à chacune d'elles permet de les différencier, et la variété de leur inspiration se révèle toujours plus grande à mesure qu'on en approfondit l'étude. C'est grâce à cette variété que Mozart est parmi le petit nombre des compositeurs dont on peut faire son pain quotidien. Peu importe la diversité de la forme ; la diversité de l'émotion est celle qu'exige notre esprit et la seule qui prévienne l'ennui. Nombre de musiciens ont une forme plus variée que celle de Mozart, et leurs œuvres, néanmoins, lorsqu'on veut s'en repaître, provoquent bientôt un sentiment de monotonie que le Mozart des grandes œuvres ne cause jamais et dont on ne souffre chez lui que si on s'obstine à l'étudier dans les compositions où il n'a pas mis le fond de lui-même. Ce privilège qui leur appartient' de satisfaire d'une manière durable l'âme et l'esprit, plus encore que leur rôle historique, a valu à ses concertos pour piano leur place aux rangs des chefs-d'œuvre. Nulle part plus que dans ses andantes, Mozart n'a montré combien son expression personnelle a su épouser la forme que l'usage de son époque lui présentait. Dans certains de ses allegros et rondos, il peut nous arriver de percevoir jusqu'à en souffrir la symétrie et la régularité d'une section, à tel point que la forme s'impose à notre attention plus que le sentiment. Dans ses andantes, inspiration et technique, lyrisme et construction, se fondent avec une telle unité que rien ne nous distrait de la beauté de la pensée elle-même. Les concertos ne mériteraient pas, dans l'œuvre de Mozart, la place hautement représentative qu'ils occupent si leurs andantes n'étaient pas les égaux des meilleurs de ceux des quatuors et des symphonies. Aucun autre groupe de mouvements chez lui ne les dépasse en variété. Nous sentons, cependant, que certains mouvements s'apparentent l'un à l'autre, qu'il est des « familles de mouvements » et cela permet d'établir une certaine classification parmi eux. C'est ainsi que les andantes de Mozart, malgré leur richesse et leur diversité, et avec quelques exceptions, se laissent rapporter à quatre ou cinq types, que nous pouvons étiqueter, pour plus de commodité, l'andante galant, l'andante-rêve, l'andante ou adagio méditatif, l'andante cantabile ou romance, et l'andante élégiaque ou dramatique. Personne ne sera dupe de cette classification au point de la croire absolue. Mais elle peut nous aider à embrasser plus facilement l'ensemble de ces andantes où Mozart a livré ce qu'il avait de plus précieux. Les concertos de Mozart, cependant, étaient loin d'être des incontournables des salles de concert au début du XXe siècle. Pourtant, le vent a commencé à tourner. Une nouvelle génération d'éminents claviéristes classiques, parmi lesquels Wanda Landowska, Walter Gieseking, Edwin Fischer et Arthur Schnabel, a contribué à faire avancer la cause, tout comme Lili Kraus. Lili Kraus a comparé son affinité avec Mozart à une mission : « Quand j'ai commencé à explorer Mozart, j'ai découvert la beauté infinie de cette musique, et d'une certaine manière il m'est donné de donner vie à cette beauté. Je trouve qu'il est de mon devoir, de mon privilège, et si vous voulez, de ma croix, de consacrer ma vie à cette musique. » Certains pianistes et compositeurs deviennent inextricablement liés aux yeux du public. Mentionnons Glenn Gould, par exemple, et les Variations Goldberg de Bach viennent à l'esprit. Artur Schnabel et Beethoven étaient pratiquement synonymes, tout comme Walter Gieseking et Debussy, Arthur Rubinstein et Chopin, Alicia de Larrocha et les impressionnistes espagnols. Lorsqu'il s'agissait de la musique pour piano de Mozart, plusieurs générations d'auditeurs et de collectionneurs considéraient les interprétations de Lili Kraus comme le dernier mot.. Mozart - Piano Concertos 9 Jeunehomme,15,16,1,2,3,4,5,6,8 (Century's recording : Lili Kraus/Simon) : ua-cam.com/video/FHwmL8Md22w/v-deo.html&index=3 Mozart - Piano Concertos No.11,12,13,14,17,18,19 (recording of the Century : Lili Kraus/Simon) : ua-cam.com/video/ZntL9Y7vcDM/v-deo.html Mozart - Piano Sonatas Nos.1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17 NEW MASTERING 2021 (Century's record.: Lili Kraus) : ua-cam.com/video/K2doJV0FR8Q/v-deo.html Wolfgang Amadeus Mozart PLAYLIST (reference recordings) : ua-cam.com/video/EVPkfHD6b7E/v-deo.html
Lili Kraus...so glad there are musicians like you who put in the work to be able to perform and keep genius music like this alive!...I'm sure Mozart himself would approve of your, and the other musicians' performances of his works here...
" it’s the D minor (K.466) I love the most. It is in resonance with my profound being. I sense each note deep in my heart… the music is breathtaking, majestic, tremendous, it fills my soul with beauty, and longing, and a bittersweet feeling that words could never explain" . W. A. Mozart
No hay nada mejor en el mundo,ni siquiera el sexo.Ni ferraris ni mansiones,sólo la salud y tener lo básico para poder vivir lo cambio por el.Con esto quiero decir que si me dicen: tendrás mucho dinero pero jamás podrás escuchar a Mozart,prefiero quedarme como estoy, es decir justo de dinero pero poder escucharlo hasta el fin de mis días
What wonderful music one which to reflect on Mozart's 267th birthday on 27 January 2023. Lili's piano is strikingly beautiful and pure, without any frills. Mozart's music will remain forever fresh and inspirational to all us who are lucky enough to be witnesses to his genius.
The more I listen to Mozarts #24, the more I realize what this piece was. This was Mozart for one month not giving a damn what people thought. This piece was Mozart coming out of a shell. This piece was to leave no doubt who the best composer in the world was. This piece was Mozart telling the world "I'm here and this is why I'm the best". He didn't just write another concerto. He crushed what a concerto was up until this point. He sounded like he was freeing himself , and he let the world know this is how good he is and how far he's come. If I were Haydn or Beethoven listening to this for tbe first time, I would be In complete awe, shocked, and would run and hide because this was like what Beethovens 9th did to the Romantics, it set the bar high in the genre and they knew any work they did would never measure up. Oh so many composers were happy and sad he left early because this man had skills, heart, photographic memory, taste, and knew how to take a melody and create endless possibilities. As Haydn cried the last 15 years of his life "If the world could only see his talent through my musical eyes, they would never let him go. He was an irreplaceable generational talent gone way too soon."
Just saw your great comment. The concertos 20-27 are absolutely mind blowing. I agree that # 24 is something special but all this last group are individually special in their own way. For me, the first movement of # 25 is Mozart on steroids. He is just laying out everything in his "tool box" .And the opening bars of # 27 makes me shudder . It's just an amazing opening. He certainly knew how good he was . Listening to these concertos you can see from where Beethoven's piano concertos germinated. Beethoven was 21 when Mozart died and he must have been aquainted with these concertos and loved them.
@@BritinIsrael nice post. Ironically, the opening bars of #27 ended up being very popular with the Romantics after Beethoven. The concept of briefly playing the strings before the piano was something the Romantics loved and it was one of mozarts many contributions to Romanticsm I guess. The opening of his 40th symphony was a similar thing.
Listen to beethovens melody closely. He used the notes from mozarts c minor 24 final movement theme, but the structure from his piano fantasy in same key. Showing his respect and getting cute I guess. :)
The Lili Kraus and Stephen Simon complete Mozart Concertos were recommended to me when I read an article about where to find the best recordings of all these concertos. Wow! I hit the jackpot. The pianist and conductor understand Mozart more deeply than anyone else I have ever listened to in these concertos! Mozart can be so deep, bring out emotions in such a subtle way that you don't even know those emotions were even in you. There is also great humor and playfulness, simplicity and elegance, nuance... on and on. I think Lili Kraus understood Mozart better than almost any other pianist. She was so attuned to the composer, there is such color in every note and Lili searches the depths of touch and tone. Just as Mozart's concertos go where no composer can go, Lili Kraus and Stephen Simon go where no pianist and orchestra usually travel. What words can one use to describe these concertos? Sublime, gorgeous? Yes!
You wrote: "Just as Mozart's concertos go where no composer can go, Lili Kraus and Stephen Simon go where no pianist and orchestra usually travel. What words can one use to describe these concertos? Sublime, gorgeous? Yes!" I will add that I have no words to describe this recording of the first concert here (in D minor). I have never known such an outstanding cadenza for the 1st movement of any piano concerto with orchestra... AND YOU??
@@panprezes1993 I really adore the way Lili Kraus and Stephen Simon play the second slow movement of the 17th concerto (Their disc with the yellow jacket cover). Almost immediately I feel both the beauty and the depth of despair. Wow!
It`s so beautiful words can hardly describe it. That was one of Mozarts talents, to put his feelings to music, and when he wrote " The 23rd " the adagio.......he was really really sad...he must`ve been. It was Stalins favorite piece of music, and though he was a coldblooded killer, it proves, that deep down in his dark soul.........there was still some genuine feelings, trying to get out.
One of my favorites as a kid. Mozart had a superb memory. He would experiment, and always remembered the result. He remembered everything he heard or studied. He was always experimenting. That was mozarts main gift. He also worked very hard on his craft and man it showed in his 30s. Beethoven would've had no chance if mozart lived another 15 or 20 years.
@@beethovenlovedmozart beethoven is also a beast. one of a kind. he has his own thing going on. they are just distinctly different my man, Art is not a competition. if we only have Mozart and no Beethoven or any other magnificent composers, the world would be poorer indeed.
@@classicalmusicreference For me an anecdote not with Lili Krauss-Teacher but Concertist Lili Krauss very far from to day and j remember very well : when she appears on stage she had a top black hungarian hat unforgettable on her head , a hungarian black dress with J dont'write in english ( une large écharpe blanche en dentelles sur les épaules ) In bis Lili Krauss pkayed " alla turca " and saluted the audience crossing hers hands : j remember fotever " alla Turca " by Lili Krauss it''s was in 1956 " Salle Pierre Bordes " à Alger where Samson François played his Concerto in 1957 , j was a young lover-music and j had already bought " alla turca " by Marcelle Meyer recording in a little 45 t vinyl . Many pianists recordings were in little vinyls vinyls as also : " The Harmonious- Black Smith " by Wilhem Kempff .
J don't see an other pianist in Mozart , all famous pianist have a composer , of course Rubinstein play all composers but not as a pianist who worked a composer during all in life . There is a particular Mozart in Adagios sonatas concertis by Clara Haskil with in more a melancolic , nostalgic , dreamer almost as a suffering of his soul . Haskil had a life more difficult by her difficult physical , during war 1940 ' not Lili Kraus . Except thoses differencz j can say there were two Mozart Haskil- Krauss the others pianists are all very good ( mostly Geza Anda ) but there us not this above the notes , there are no word , that is with Lili Kraus . Not possible to listen Mozart if we don't known thoses two pianists : same thing Rubinstein Cortot S Francois with Chopin
Lili Kraus had too tumultuous a life to play it safe. Instead she played like a human being. Others may be more immaculate, even more elegant but Kraus reminds us that Mozart first and foremost was an opera composer, especially when he was writing concertos for himself. Most notes mention Lili’s more famous teachers, including Bartok and Schnabel, but look on UA-cam for radio transcriptions of another one - Severin Eisenberger - and hear where she learned to communicate. Thanks so much for sharing all this (earlier concertos are also posted).
Lili Kraus surely deserves, but doesn't really need, additional praise from me. I'd like to praise the often-unmentioned conducting by Stephen Simon here, so well paced, balanced, and dramatically phrased. This was a happy collaboration indeed.
I always get emotional when I hear Piano Concerto No.20 in D minor, K.466 II. Romance (13:34). Takes me back to the credits of Amadeus and how wiped out I feel after watching that movie!
@@Philobach Not sure Bach and Mozart can be compared to one another. Both are coming from a completely different mind-set and both are kings of music making.
I absoloutly love these versions . Kraus and her fellow musicians play Mozart because they love it. One can hear how much they enjoy to do so. They're not trying to impress any one 🙂
I'm drawn to each piece when Lily plays it, from No. 20 to No. 27. I've wondered why, and thought about it a lot, but I don't know what it is. I think there must be something to it. Perhaps it's Lily magic. In any case, it stirs the soul of the listener. Throughout the performance, Lily's touch on the keys is strong, making Mozart's melody stand out even more beautifully. I feel that she values each and every note. (There is something about her that is similar to Furtwängler.) Lily's piano has clear musical lines and is pleasant to the ear. Lily's piano sounds are gentle, beautiful, rhythmic and powerful. I've listened to Nos. 20 to 27 in a row countless times on UA-cam (over 150 times, which may be over 600 hours), but I never get bored of listening to them. I can always listen to them with a fresh feeling. It's probably similar to the feeling of walking along a mountain ridge. I'm walking along a beautiful path (Mozart's melody), carefully checking each step. There are flower fields all around, cliffs below, and steep slopes and rough roads. As she crosses eight passes and peaks (8 songs/Nos. 20 to 27). Perhaps Lily is playing with such scenes in her mind. I listened to "Mozart-Piano Concertos No. 20, 21, 22, 23, 24, 25, 26, 27" on UA-cam. I didn't even know the name Lily Krauss. I knew that Mozart's late piano concertos were good pieces, so I tried listening to them without any preconceptions, but it felt like something completely different from what I had heard before. I tried to express its goodness in words, but I couldn't think of anything. The piano sound is clear and crisp, and each note sounds like it is bouncing powerfully and has a sense of dynamism. The timing is good and the rhythm is rhythmic. Every piece is beautiful and flowing. I am filled with gratitude for having come across such a performance. A deep, profound sound. Finite and infinite ineffable emotions are mixed into the sound of each and every note. Each note in the slow movement in particular has a philosophical sound that makes you think deeply. What meaning did Mozart entrust to each and every note?
Someone asked me years ago if I was stranded on an island and had the choice of only one composer to listen to for the rest of my life - out of all the musicians and composers who have graced this planet since time began - who would I choose..?... instantly I answered Mozart.. NO ONE has such a prolific and diverse collection of compositions.. NO ONE comes even close to his range of musical scores.. it was a very easy decision.. you never get bored with Mozart.. A True Genius and Prodigy 🙂
Thank you for this. Of course, "The Big Piano Concertos" are the climax of Mozart's work. Breadwinners or not, they were HIS and HIS only. He was the author, the conductor and the performer with them. Nothing else shows his personality as much, what he was both outside and inside. Sometimes, I can see his face, his posture, his movements in this music, his absolute enjoyment of playing it. They all reflect his persona, one way or another. But as much as I know about him, as much as I read in any language I could understand, I see his most precise selfportrait in #23-II. Sadness hidden behind a wide smile, wisdom in the shadow of a joke.
Lili's beautiful touch blends well with the delicate interpretation of the orchestra makes me listen on and on nonstop. I just cannot help it. I must stop now to do my work. No. I cannot stop. How can I stop now!
This is a "Century's Record" without any doubt. This sublime recording of the Mozart Piano Concertos was perhaps the apex of a dynamic relationship between the gilded American Stephen Simon, and Lili Kraus through whose veins flowed the pianistic tradition of Central Europe. For her it was the culmination of a life's work and perhaps for Stephen Simon, who conducts with sensitivity and balance, it too, marks a personal highpoint. His influence no doubt created the mysterious Vienna Festival Orchestra, probably made up of the most able musicians freelancing from the Vienna Phil. The remastering reveals a glorious sound. I cannot recommend these recordings highly enough.
Every time I listen to No. 21, Andante, I have to listen to it at least 4 times and...... everything else in the world just fades away............ Mozart has the ability to do that.
Lili Kraus’ old Steinway is unbelievably beautiful. I have never heard the sound emanating from a piano that sounded this grand. It must be a class “A”. Sound quality is grand, clear, both loud or quiet passages are as they say, ‘music’. Of course, without Mm Kraus would come to none. The re-digitized sound quality is superb.
@@hans-jorgrechtsteiner1070 It's probably a Steinway since Lili Kraus was a Steinway artist, although I've no idea of the year of the piano she was using.
What a shame this great artist didn't get to record much with regular world-class orchestras, instead of these ad hoc 'festival' orchestras cobbled together for recording occasions. As for pianos, I'm not sure it's a Steinway. If it is, it will be the 9' Model D, not the 6' Model A. I listened recently to her Schubert D. 960. An ethereal spiritual quality that makes so many other recordings - even by eminent pianists - seem ordinary, pedestrian. Aals, a glaring slip in the very last line of the 40 odd pages which should have been corrected.
In my humble opinion, the entire renditions by the late great Lilli Krauz of Mozarts Piano Concerto's are absolutely amazing soothing to ones ears and inner spirit, if you get my drift. Brilliant.
Mozart rarely composed in minor keys. But when he suddenly changes from major key to minor key, it is just sublime. The No. 23, second movement is my favorite. Beautiful!!
C'était un homme triste, Mozart. Obligé d'écrire de la musique "gaie" pour la Société, il donnait le meilleur de lui-même quand il composait en mineur, car c'était le plus profond de son âme. Ceci posé, il s'est beaucoup "inspiré" (pour ne pas dire plus) de Johann Christian Bach. Écoutez donc les concertos pour piano de celui-ci op. 13. Vous allez.. entendre. J'ai failli écrire "voir"!. Quant à Lil Kraus, elle a des passages où elle fait des accelerandi non justifiés. Peut-être par nervosité. Seul celui qui n'a pas joué en public ignore ce que c'est cette énorme nervoité que l'on appelle "trac", "Lampenfieber", "stage fright". Personne ne peut y échapper, pas même les plus grands et les plus routinés. Un de ces grands disait:"Après la première fausse note je n'ai plus de trac". Ayant demandé à un grand maître de la baguette ce qu'il voulait exprimer par les grands cercles dessinés, de temps à autre, par son bras gauche. Réponse:"C'est quand j'ai oublié la partition et ne me rappelle pas les entrées." Et c'était l'un des cinq ou six des plus grands du monde de son temps (1940-1960s). Il a été l'un de mes deux maîtres. RIP et un grand merci, Maestro!
yea No.23 2nd movement is the most beautiful piece with over-flows of peaceful serenity, especially with the rendering of the clarinet... loved that melody for almost 20 years( I always linked it up with the 2nd movement of the clarinet concerto) . And as for the minors - you're right, Mozart seldom composed in them for piano works with two exceptions - the two most epic ones are the No.20 and No.24 both in d minors... the No.20 was such a magnificent materpiece that Beethoven once commented that no one ever would compose out something like that
I believe the slow movement of #23 is the only one in the piano concertos to be marked Adagio which for a composer in the austro-germanic tradition is more than a tempo marking: it implies music of a deeply profound type. The extraordinary Adagio Sostenuto of Beethoven's great Hammerklavier Sonata is also in f sharp minor like Mozart's, and seems to me to have been influenced by the Mozart slow movement.
I've noticed listening to concertos by Mozart that he is one of the few classical musicians that makes you want to dance, and not feel the less smart about it.
The real man who Kickstarted beethoven and romantic period. The guy that everyone says didn't write serious music. Mozart was the most gifted composer ever to breath on earth
@@beethovenlovedmozart His music is the most serious and most beautiful music ever composed which came from his heart. When a music reaches to this level and depth, there is no need for the melodramatic Beethoven and his followers.
I have been listening to these concerts for many years and I have no words to describe its beauty. Perahia, Brendel and Lili Kraus are my favorite pianists to play it. Lili Kraus is simply wonderful: her playing is so impressive, unique. She was a great mozartian player, among the best genius I have been known!
So do agree of her performance quality! Murray Perahia is, for my taste, near perfect. He provides the most soft, slower and sensitive interpretation of 1 through 27! Again, my taste. Lili Kraus is a little quick which, to me, detracts a bit. To show you how critical I am, I consider Horowitz something of a key-banger. Taste! We all have our individually. I have not nor will I ever tell anyone how to listen to or enjoy any form of musical entertainment. Willie Nelson wrote the music his own lyrics to Angle Flying Too Close to the Ground. It is simply beautiful! Taste. The loveliest piece of music he ever composed or performed. Again, taste! We should all thank our lucky stars for the masters and contemporary composers, Mozart working in a virtual dungeon and those today in comfortable studios, well equipped electronically with a Black 7 Foot 2, Steinway and Sons Concert Grand Instrument. There will be agreement and criticism. Love to here it all.
@@jameswidman2780 Lili Kraus somewhere described that she had learnt more from playing original Mozart-time pianos, more than from any teacher. Now the tone of this pianos showed a much faster decline during time than is the case with modern pianos. Therefore to link the melody and fill the space you need a slightly faster tempo, which makes also sense because then you get even in Mozart a Beethovenian drive.
38:06 I have been trying to find this part for years. I heard it while driving along I-70 from Colorado toward Utah in the twilight with sandstone hoodoos around me. Majestic! Now I know it's _Piano Concerto No.21 in C major, K.467 Ⅰ. Allegro maestoso!_ Thanks!
I am grateful to the people (the orchestra and the performer) who work so hard to revive this magnificent, brilliant music....thank you. You make this world a better place, you transform it.
Gorgeous, thank you. 4 hours of pure beauty starting with the operatic style opening of 20, and then on. Ms Kraus and this conductor and orchestra competently explore Mozart's incomparable works. I am sure that Mozart would have loved the fact that his music still delights people the world over and the way his piano has been developed over two or so posthumous centuries.
Mozart's music invites me into the comfortable and fascinating world Mozart's works are the cradle of my nostalgic memories While listening to Mozart's piano works, it is special to see the shining famous autumn Moon over the bamboo grove In Kyoto's Sagano , Japan The autumn is around the corner
Many years ago, Mozart was my introduction to great compositional music. What better place to start than with the versatile, inspired, and gifted master of melody and form.
Tänk om Mozart hade fått leva ytterligare 35 år, vilken enorm musikskatt hade vi inte kunnat ha möjlighet att lyssna till?! Imagine if Mozart had lived for another 35 years, what enormous music treasure could we not have been able to listen to ?! Stellen Sie sich vor, wenn Mozart noch 35 Jahre gelebt hätte, welche enorme Musiksteuer hätten wir nicht hören können?! ¡Imagínese si Mozart hubiera vivido por otros 35 años, qué enorme impuesto musical no podríamos haber escuchado?
Totally agree pal. Lili Krauss is amazing but I prefer Yeol Eum Son's interpretation. Check it out if you haven't already. ua-cam.com/video/fNU-XAZjhzA/v-deo.html
So true. Objectively, no one is greater than another. Just the same, the last movement of number 23 is like listening to a perfect story told by a perfect storyteller. I have listened to it hundreds of times over the last fifty years, and it has never ceased to amaze me. It's as close to perfection as anything I know.
I love Herr Mozart so much! He's the number 01 between the classical composers I love more (and more). Greetings from Sao Paulo, Brazil, dear Mozart fans.
sur mon lit d'hôpital, j'écoute Wolfgang Amadeus et la vie est plus belle: tant de légèreté et de finesse, tant de fantaisie et de joie rendent la journée moins longue...pur plaisir
У Моцарта мы слышим Живой Поток Благороднейших Гармоний. И чем жизнь ощущается душой всё более и более опустошительной и тяжёлой, тем ярче удивляет и радует нас Небесное Искусство Моцарта!!! Теппер Михаил.
Glorious music! Superb artist! Dear Lili Kraus, always gracious and beautiful whether performing her beloved Mozart, conducting a masterclass or sharing conversation over lunch. She spread joy wherever she went...and now it continues on UA-cam. Thank you, Classical Music! We are much indebted to you!
#22 is no joke either. The second movement was revolutionary and no one realizes it. :) His father attended the premier so you know mozart was going to do extra for his dad in the audience. His dad was in shock. Not of his sons extraordinary talent, but the audience gave a standing applause after the second movement. It was the first time in history that the audience begged for an entire repeat of the second movement in a minor key. Mozart could be himself with minor key. I've said this for the past 20 years. Twice mozart interrupted the minor themes with major themes showcasing woodwinds. Then he would explode back to minor on the piano. The perfect piece to show off to his dad. I'm sure that wad an extraordinary moment for him. That piece was revolutionary in many ways. Mozart elevated the piano with more power in the concerto. Something that later inspired Beethoven.
All by Mozart until you get to 10:20. Then you have more than 2 minutes of a pianist who thought she was a good enough composer to improve Mozart's concertos.
Tim Allen: Sorry, you're way off base here. Mozart left no cadenzas for this concerto, as was often the case with those he intended for his own use. It was the custom of the time, until Beethoven's 5th concerto, to improvise, and many pianists still do, if they can (or play something they've prepared.) Ms. Kraus is playing those left to us by Beethoven, as many pianists still do. If you object, take it up with Wolfie and Louie.
I'm not off base and I have no problem with "Wolfie and Louie". I said the cadenza was not written by Mozart. (BTW, it wasn't written by Beethoven either.) I implied that Ms. Kraus's cadenza is not as good as the rest of the piece and that it was too long and pretentious. If I'm wrong, show me a cadenza written by "Wolfie or Louie" that carries on for more than 2 minutes.
Mozart is my favorite composer. Such amazing genius and how he could create his compositions in his mind and write them down while "hearing" them mentally. The book, "Mozart in Vienna" mentioned this as well as that ability is mentioned in other sources as well.
Most evidence points that he had a photographic memory. Probably no other composer had this gift. IF He was going to write a new symphony in D, he literally can remember what symphonies he studied in d in his whole lifetime. From papa haydn to Michael haydb or whomever. He liked taking what others did in the same key and then see how he can expand it. His requiem had Michael haydn ideas from his requiem made 30 years earlier and mozart literally only heard it twice as a child.
Classical music is an incredibly refined and wonderful form of art. It has the ability to express emotions and create a unique sonic experience that no other genre of music can compare to.
Listening to them in a row reveals to me the extraordinary coherence of Lili Kraus's interpretation, full of operatic fire (what a dynamic range!) - and hence her flawless choice of daring cadenzas in the 1rst and 3rd movements, played as if they were second or even third Durchführungen, all the while keeping an impeccable pulse, thereby intensifying the drama and turning the return of the thematic motives and the tonic in the coda into new heights of radiating intellectual and emotional bliss. With all my admiration for the "historically informed" practice, how fragmented does it seem in comparison with this continuous flow of light!
An absolutely briiliant scholarly comment. Yes, these performances by Lili Kraus are really outstanding . In comparison to other performers of these wonderful concerti she seems to get in to the mind of the young ( he was always young) Mozart. I certainly think that Mozart would smile and approve.
Gracias Dios por haber inspirado tanta belleza!!!!...Gracias Mozart, orquestas, editores y todos quienes hayan participado en la materialización de este magnífico regalo!!!
Sublime, único al inspirar al mundo entero sensaciones maravillosas que permanecen vivas, latentes y renacen con la misma fuerza inspiradora de deleite al oído, al alma: eternamente. Incomparable, sin desmerecer a los otros grandes.
Превыше восторга.., превыше восхищения.., превыше слов.. Мятежное маленькое тело с огромной миссией - возвысить человечество, дав ему эстетику этих Божественных музыкальных композиций.
I can't go past mozart's compositions. A true gift from the cosmos. Lili Krause brings his music to life as no other pianist has been able to. Mozart would approve. So good to listen to when settling down for the night.
Wunderschöne Interpretation dieser perfekt komponierten Meisterwerke mit klarem und zugleich anmutigem Klang des Soloklaviers sowie gut harmonisierten und perfekt synchronisierten Töne anderer Instrumente. Was Klavierkonzerte von Mozart betrifft, Lili Kraus ist immer noch die beste Solistin!
Always such a great pleasure to listen to Mozart's beautiful music. Still can't get over how young he was when he passed away. Imagine all the wonderful music he would have composed for our enjoyment if he lived to be 80 years old!
Certainly, Chopin, Verdi, Rossini, Beethoven, Schumann, Wagner and others would not be as well known as they are today, as he was going to totally change classical music.
Thank you! Lili Kraus was the inspiration for me to play piano when I was a child. For me Lili Kraus is also today the reference how to play a Mozart concerto.
This #22 is another hidden gem. Interesting story about the andante movement. His father attended the premier of this concerto and he was shocked when the audience gave mozart a standing applause after the second movement. He was like "what's going on here?". It was the first time ever there the audience asked the performer to play the second movement over again. Unheard of at the time for a minor key work.
The second movement plays to mozarts strengths. Since its in a minor key, he could be serious without consequences. Also he was the first to really bring piano as tbe dominant instrument in a concerto. He was a top 10 pianist of all time.
I also believe when he went to two themes in a major key twice in this movement a s returned with thunderous piano in minor, it was really different for the time
Listening to this recording I can understand why Lili Kraus is rated as one of the great Mozart interpreters. Her touch is sensitive and articulate. Her dynamic range is wide. Her phrasing makes the music sing. I hope you upload concertos 1 thru 19, especially my favorite, number 15, k450!
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
Прослушав все эти концерты, я пришёл к убеждению, что с человечеством через Моцарта Говорил его Ангел-Хранитель ! Большое спасибо всем, кто помог появиться в Интернете эти чудесные концерты ! Хочу особенно подчеркнуть бесподобную игру милой Лили Краус !!! Теппер Михаил.
Михаил, отлично сказано: "бесподобная игра"! В моей коллекции есть записи этих концертов в интепретации Гезы Анды (Geza Anda, piano and coductor) и Camerata Academica des Salzburger Mozarteums. Тоже весьма достойное и волнующее исполнение
Los movimientos lentos de los conciertos para piano de Mozart nos muestran su faceta emotiva. Es la emoción que suscitan aquello que los hace tan queribles, en tanto que en los allegri y movimientos más rápidos está el Mozart genial, capaz de improvisar el movimiento en el mismo momento en que el concierto recibía su primera ejecución. Las grandes pianistas como Lily Krauss, Clara Haskill y Mitzuko Ushida nos entregan, con delicada sensibilidad femenina la emotividad de los movimientos lentos. La gran música, la de Mozart, la de Bach, la de Beethoven, la de Schubert, la de Brahms, la de Bruckner y la de muchos otros me han hecho llevaderos los confinamientos impuestos por la pandemia COVID19. Gracias a UA-cam es posible, hoy, disponer de casi toda la gran música que se ha grabado. En 1960, en Chile, cuando los equipos de reproducción no estaban al alcance de la gente de ingresos bajos hubo un hombre que hizo a mi país uno de los regalos culturales más grandes que hemos recibido, creó la radio emisora Andrés Bello dedicada exclusivamente a la gran música. Ninguna calle de Santiago de Chile lleva su nombre civil, James Morrison, o su nombre de comunicador social, Jimmy Brown. Sí hay calles con nombres de futbolistas.
ﾘﾘｰさんは自分が思い描いたﾓｰﾂｧﾙﾄの世界を表現できる悦びを噛みしめながら、 喜び勇んで生き生きと奏でているようにみえる。 ﾓｰﾂｧﾙﾄが晩年に経験したであろう辛い悲しみや苦しみに思いを 寄せながら、それを表現しようとしている。ﾒﾘﾊﾘのある強く意欲的なﾀｯﾁに それが表れている。 他の有名なﾋﾟｱﾆｽﾄの演奏を何人も聴いているが、ﾘﾘｰさんのように 感動することはない。ﾘﾘｰさんは本当に素晴らしい。 Lily seems to play with joy and vigor, savoring the joy of being able to express the world of Mozart that she imagined. She is trying to express the bitter sadness and suffering that Mozart must have experienced in his later years, while thinking about it. This is reflected in her strong, ambitious touch with strong contrasts. I have listened to many other famous pianists' performances, but I have never been as moved by them as Lily. Lily is truly wonderful.
Es maravilloso y celestial escuchar a Mozart, me transmite una gran tranquilidad y bienestar en mi ser. A través del piano, la música es mágica y te une de una dicotomía entre el cuerpo y la mente.💯 x 💯 admiradora de Mozart y claro..!! de Lili Kraus. Gracias.
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.[1]
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
There is a reason beethoven stopped at 5 piano concertos. He had exhausted all of mozarts ideas and his style. He simply didn't know what to compose next that would measure up to past works.
@@patriciabravoriscal6264 what year did he come complete his 5th piano concerto? When did he die? How many years in between? He quit making piano concertos because he couldnt hear anymore and therefore didn't want to perform them. But in my opinion, he also couldn't do anything better. He exhausted mozarts imagination and his own when it comes to performing at a piano. His 5th has so many mozart ideas it's not even funny. He gave it up because he couldn't do variations anymore. Plain and simple. He was no mozart. He was a great piano player with average melodic talent who fooled even you into thinking he was more than that. When you spend 4 years on your last concerto, it should be good.
It took me a long while, but I finally figured out mozart. No matter how hard you study, as Beethoven found out, you will never be him. Why? He remembered everything. It's really that simple. He had an unbelievable ear, math genius, and can remember everything he hears or touches. He could be extraterrestrial for all we know! Mozart reused his old melodies all the time because they were simply in his head and he was trying to make them better. Piano concerto #22 for example, 3rd movement is an example where only mozart could do it. Beethoven couldn't have that creativity to save his life. His memory was the main difference! You can hear it in his music. Every concerto gets better and better at something because he can always recall what he did. It's what made him tbe greatest ever.
what still seems incredible is that in the times we are leaving we have access to so many wonderful music, documentaires, movies and that we can communicate immediately with anybody anywhere . only 40 or 30 or even 20 years ago was unthinkable.
I still remember having to ask the operator to place a call for me, If you wanted to call abroad she would take down the number then call you several hours later with someone on the other line. Yes I am old but i still yearn for simpler times
@bill Bloggs what do you think who started that all? Surelly it wasn't someone born in 2001. It was that careless generation 50-100 years ago that accelerated every Decadence of Society with their world wars, globalism and uninterrupted capitalist monopoly
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Wolfgang Amadeus Mozart (1756-1791) - Piano Concertos 20-27.
*Click to activate the English subtitles for the presentation* (00:00-05:43)
A very big « THANKS » to Sony Music who authorized us to release this recording.
Piano Concerto No.20 in D minor, K.466 Ⅰ. Allegro (00:00)
Piano Concerto No.20 in D minor, K.466 II. Romance (13:34)
Piano Concerto No.20 in D minor, K.466 III. Rondo: Allegro assai (22:31)
Piano Concerto No.21 in C major, K.467 Ⅰ. Allegro maestoso (30:28)
Piano Concerto No.21 in C major, K.467 II. Andante (44:27)
Piano Concerto No.21 in C major, K.467 III. Allegro vivace assai (50:39)
Piano Concerto No. 22 in E flat Major, K. 482 - 1. Allegro (57:47)
Piano Concerto No. 22 in E flat Major, K. 482 - 2. Andante (1:10:53)
Piano Concerto No. 22 in E flat Major, K. 482 - 3. Allegro (1:19:30)
Piano Concerto No. 23 in A Major K. 488 - 1. Allegro (1:31:20)
Piano Concerto No. 23 in A Major K. 488 - 2. Adagio (1:41:57)
Piano Concerto No. 23 in A Major K. 488 - 3. Allegro Assai (1:47:30)
Piano Concerto No. 24 in C Minor K. 491 - 1. Allegro (1:55:27)
Piano Concerto No. 24 in C Minor K. 491 - 2. Larghetto (2:08:24)
Piano Concerto No. 24 in C Minor K. 491 - 3. Allegretto (2:15:23)
Piano Concerto No. 25 in C Major K. 503 - 1. Allegro (2:24:47)
Piano Concerto No. 25 in C Major K. 503 - 2. Andante (2:39:38)
Piano Concerto No. 25 in C Major K. 503 - 3. Allegretto (2:45:48)
Piano Concerto No. 26 in D Major K. 537 - 1. Allegro (2:55:10)
Piano Concerto No. 26 in D Major K. 537 - 2. Larghetto (3:09:18)
Piano Concerto No. 26 in D Major K. 537 - 3. Allegretto (3:15:06)
Piano Concerto No. 27 in B-Flat Major K. 595 - 1. Allegro (3:27:00)
Piano Concerto No. 27 in B-Flat Major K. 595 - 2. Larghetto (3:40:29)
Piano Concerto No. 27 in B-Flat Major K. 595 - 3. Allegro (3:48:17)
Piano : Lili Kraus
Vienna Festival Orchestra
Conductor : Stephen Simon
Recorded in 1965-66
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Les concertos que Mozart a écrits pour son instrument favori jouent dans l'histoire de leur genre un rôle comparable à celui joué dans l'histoire de la symphonie par les neuf chefs-d'œuvre de Beethoven. De même que la symphonie beethovénienne a déterminé la forme du genre pour près d'un siècle, de même les concertos pour piano de Mozart, par leur nombre et par la grande beauté de la plupart d'entre eux, sont à l'origine du concerto moderne et ont tracé les lignes selon lesquelles il s'est pendant longtemps développé.
Le défi pour les compositeurs de la fin du XVIIIe siècle était de concilier les caractéristiques les plus fortes de la forme concerto baroque (contrastes timbraux distincts entre un instrumentiste soliste et un orchestre, plus une brillante écriture en solo) avec le nouveau style de sonate-allegro. Lui-même virtuose accompli, Mozart a élevé la fonction de pianiste soliste à de nouveaux niveaux d'expression, de technique et d'élan dramatique. Par conséquent, le piano et l'orchestre n'étaient pas simplement des partenaires égaux, mais des personnages distincts à part entière.
Entre tous les grands compositeurs, Mozart est celui qui a enrichi la bibliothèque du genre du plus grand nombre de chefs-d'œuvre. Chez la plupart des maîtres, les concertos tiennent une place relativement petite, beaucoup plus petite, par exemple, que les symphonies ou les quatuors. Chez lui, au contraire, ils sont plus nombreux que n'importe quelles autres compositions, à l'exception des symphonies.
Cependant, aux yeux du musicien qui se préoccupe moins de l'histoire de la forme que de la personnalité de chaque œuvre, de la pensée qui l'inspire et de la joie qu'elle peut procurer, ses concertos sont encore plus précieux, car ils constituent une source intarissable de jouissance artistique. Ils forment un groupe de chefs-d'œuvre qu'on pratique continuellement sans jamais s'en lasser.
Dans leur diversité, ils correspondent aux états d'âme les plus variés, depuis le contentement où nous demandons l'art d'être une simple distraction, délicate plutôt que profonde, depuis la joie de vivre franche et animale, la santé physique et morale et le parfait équilibre de toutes les facultés, jusqu'à la mélancolie, la douleur et même la révolte, jusqu'à cette sérénité « olympienne » qui atteint l'air vivifiant des hauts sommets. Il y a peu de moments de notre vie intérieure qui ne retrouvent dans l'un ou l'autre le tonique dont ils ont besoin. C'est là la marque des plus grandes œuvres et elle permet de placer ces concertos parmi ce que la musique a produit de plus durable.
L'uniformité relative qu'au premier abord on croit constater entre eux disparaît devant l'examen. L'émotion ne se reproduit jamais identique d'une œuvre à l'autre ; une physionomie particulière à chacune d'elles permet de les différencier, et la variété de leur inspiration se révèle toujours plus grande à mesure qu'on en approfondit l'étude. C'est grâce à cette variété que Mozart est parmi le petit nombre des compositeurs dont on peut faire son pain quotidien. Peu importe la diversité de la forme ; la diversité de l'émotion est celle qu'exige notre esprit et la seule qui prévienne l'ennui. Nombre de musiciens ont une forme plus variée que celle de Mozart, et leurs œuvres, néanmoins, lorsqu'on veut s'en repaître, provoquent bientôt un sentiment de monotonie que le Mozart des grandes œuvres ne cause jamais et dont on ne souffre chez lui que si on s'obstine à l'étudier dans les compositions où il n'a pas mis le fond de lui-même. Ce privilège qui leur appartient' de satisfaire d'une manière durable l'âme et l'esprit, plus encore que leur rôle historique, a valu à ses concertos pour piano leur place aux rangs des chefs-d'œuvre.
Nulle part plus que dans ses andantes, Mozart n'a montré combien son expression personnelle a su épouser la forme que l'usage de son époque lui présentait. Dans certains de ses allegros et rondos, il peut nous arriver de percevoir jusqu'à en souffrir la symétrie et la régularité d'une section, à tel point que la forme s'impose à notre attention plus que le sentiment. Dans ses andantes, inspiration et technique, lyrisme et construction, se fondent avec une telle unité que rien ne nous distrait de la beauté de la pensée elle-même. Les concertos ne mériteraient pas, dans l'œuvre de Mozart, la place hautement représentative qu'ils occupent si leurs andantes n'étaient pas les égaux des meilleurs de ceux des quatuors et des symphonies. Aucun autre groupe de mouvements chez lui ne les dépasse en variété.
Nous sentons, cependant, que certains mouvements s'apparentent l'un à l'autre, qu'il est des « familles de mouvements » et cela permet d'établir une certaine classification parmi eux. C'est ainsi que les andantes de Mozart, malgré leur richesse et leur diversité, et avec quelques exceptions, se laissent rapporter à quatre ou cinq types, que nous pouvons étiqueter, pour plus de commodité, l'andante galant, l'andante-rêve, l'andante ou adagio méditatif, l'andante cantabile ou romance, et l'andante élégiaque ou dramatique. Personne ne sera dupe de cette classification au point de la croire absolue. Mais elle peut nous aider à embrasser plus facilement l'ensemble de ces andantes où Mozart a livré ce qu'il avait de plus précieux.
Les concertos de Mozart, cependant, étaient loin d'être des incontournables des salles de concert au début du XXe siècle. Pourtant, le vent a commencé à tourner. Une nouvelle génération d'éminents claviéristes classiques, parmi lesquels Wanda Landowska, Walter Gieseking, Edwin Fischer et Arthur Schnabel, a contribué à faire avancer la cause, tout comme Lili Kraus. Lili Kraus a comparé son affinité avec Mozart à une mission : « Quand j'ai commencé à explorer Mozart, j'ai découvert la beauté infinie de cette musique, et d'une certaine manière il m'est donné de donner vie à cette beauté. Je trouve qu'il est de mon devoir, de mon privilège, et si vous voulez, de ma croix, de consacrer ma vie à cette musique. »
Certains pianistes et compositeurs deviennent inextricablement liés aux yeux du public. Mentionnons Glenn Gould, par exemple, et les Variations Goldberg de Bach viennent à l'esprit. Artur Schnabel et Beethoven étaient pratiquement synonymes, tout comme Walter Gieseking et Debussy, Arthur Rubinstein et Chopin, Alicia de Larrocha et les impressionnistes espagnols. Lorsqu'il s'agissait de la musique pour piano de Mozart, plusieurs générations d'auditeurs et de collectionneurs considéraient les interprétations de Lili Kraus comme le dernier mot..
Mozart - Piano Concertos 9 Jeunehomme,15,16,1,2,3,4,5,6,8 (Century's recording : Lili Kraus/Simon) : ua-cam.com/video/FHwmL8Md22w/v-deo.html&index=3
Mozart - Piano Concertos No.11,12,13,14,17,18,19 (recording of the Century : Lili Kraus/Simon) : ua-cam.com/video/ZntL9Y7vcDM/v-deo.html
Mozart - Piano Sonatas Nos.1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17 NEW MASTERING 2021 (Century's record.: Lili Kraus) : ua-cam.com/video/K2doJV0FR8Q/v-deo.html
Wolfgang Amadeus Mozart PLAYLIST (reference recordings) : ua-cam.com/video/EVPkfHD6b7E/v-deo.html
Classical Music/ /Reference Recording Fi
Baronbub
Musicsic
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Lili Kraus...so glad there are musicians like you who put in the work to be able to perform and keep genius music like this alive!...I'm sure Mozart himself would approve of your, and the other musicians' performances of his works here...
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" it’s the D minor (K.466) I love the most. It is in resonance with my profound being. I sense each note deep in my heart… the music is breathtaking, majestic, tremendous, it fills my soul with beauty, and longing, and a bittersweet feeling that words could never explain" . W. A. Mozart
Ô Seigneur, merci de nous avoir donné Mozart.
Je voudrai qu'il y ait que de la musique classique je vous l'ai signalé déjà ce matin vous n'avez pas tenu compte est ce sérieux??
Dommage de l'avoir repris si tôt !
Sa mort n'était pas dûe à quelque chose de très seigneur seigneur...
No hay nada mejor en el mundo,ni siquiera el sexo.Ni ferraris ni mansiones,sólo la salud y tener lo básico para poder vivir lo cambio por el.Con esto quiero decir que si me dicen: tendrás mucho dinero pero jamás podrás escuchar a Mozart,prefiero quedarme como estoy, es decir justo de dinero pero poder escucharlo hasta el fin de mis días
Sans Mozart, la vie manquerait de charme. Anne
I always thought Mozart was "nice" but he was never one of my favourites. Lili Kraus just changed all of that. What a discovery! What a treasure!
What wonderful music one which to reflect on Mozart's 267th birthday on 27 January 2023. Lili's piano is strikingly beautiful and pure, without any frills. Mozart's music will remain forever fresh and inspirational to all us who are lucky enough to be witnesses to his genius.
The more I listen to Mozarts #24, the more I realize what this piece was. This was Mozart for one month not giving a damn what people thought. This piece was Mozart coming out of a shell. This piece was to leave no doubt who the best composer in the world was. This piece was Mozart telling the world "I'm here and this is why I'm the best". He didn't just write another concerto. He crushed what a concerto was up until this point. He sounded like he was freeing himself , and he let the world know this is how good he is and how far he's come. If I were Haydn or Beethoven listening to this for tbe first time, I would be In complete awe, shocked, and would run and hide because this was like what Beethovens 9th did to the Romantics, it set the bar high in the genre and they knew any work they did would never measure up. Oh so many composers were happy and sad he left early because this man had skills, heart, photographic memory, taste, and knew how to take a melody and create endless possibilities. As Haydn cried the last 15 years of his life "If the world could only see his talent through my musical eyes, they would never let him go. He was an irreplaceable generational talent gone way too soon."
Just saw your great comment. The concertos 20-27 are absolutely mind blowing. I agree that # 24 is something special but all this last group are individually special in their own way. For me, the first movement of # 25 is Mozart on steroids. He is just laying out everything in his "tool box" .And the opening bars of # 27 makes me shudder . It's just an amazing opening. He certainly knew how good he was . Listening to these concertos you can see from where Beethoven's piano concertos germinated. Beethoven was 21 when Mozart died and he must have been aquainted with these concertos and loved them.
@@BritinIsrael nice post. Ironically, the opening bars of #27 ended up being very popular with the Romantics after Beethoven. The concept of briefly playing the strings before the piano was something the Romantics loved and it was one of mozarts many contributions to Romanticsm I guess. The opening of his 40th symphony was a similar thing.
To add more to #24, Beethoven used the melody a long with mozarts c minor fantasy as the basic for his final movement in his Pathetique sonata.
Listen to beethovens melody closely. He used the notes from mozarts c minor 24 final movement theme, but the structure from his piano fantasy in same key. Showing his respect and getting cute I guess. :)
ua-cam.com/users/clipUgkxmyJMBl9SwbkHXTBV-Q-WZOtZwJXLOfsY
The Lili Kraus and Stephen Simon complete Mozart Concertos were recommended to me when I read an article about where to find the best recordings of all these concertos. Wow! I hit the jackpot. The pianist and conductor understand Mozart more deeply than anyone else I have ever listened to in these concertos! Mozart can be so deep, bring out emotions in such a subtle way that you don't even know those emotions were even in you. There is also great humor and playfulness, simplicity and elegance, nuance... on and on. I think Lili Kraus understood Mozart better than almost any other pianist. She was so attuned to the composer, there is such color in every note and Lili searches the depths of touch and tone. Just as Mozart's concertos go where no composer can go, Lili Kraus and Stephen Simon go where no pianist and orchestra usually travel. What words can one use to describe these concertos? Sublime, gorgeous? Yes!
You wrote: "Just as Mozart's concertos go where no composer can go, Lili Kraus and Stephen Simon go where no pianist and orchestra usually travel. What words can one use to describe these concertos? Sublime, gorgeous? Yes!"
I will add that I have no words to describe this recording of the first concert here (in D minor). I have never known such an outstanding cadenza for the 1st movement of any piano concerto with orchestra...
AND YOU??
とても、心地よいピアノ🎹❤❤❤
ゴージャス！…日本より🇯🇵
@@panprezes1993 I really adore the way Lili Kraus and Stephen Simon play the second slow movement of the 17th concerto (Their disc with the yellow jacket cover). Almost immediately I feel both the beauty and the depth of despair. Wow!
The Adagio to No. 23....one of the most beautiful pieces ever composed.
totally agree
It`s so beautiful words can hardly describe it. That was one of Mozarts talents, to put his feelings to music, and when he wrote " The 23rd " the adagio.......he was really really sad...he must`ve been. It was Stalins favorite piece of music, and though he was a coldblooded killer, it proves, that deep down in his dark soul.........there was still some genuine feelings, trying to get out.
he wrote it for his father... especially the adagio
One of my favorites as a kid. Mozart had a superb memory. He would experiment, and always remembered the result. He remembered everything he heard or studied. He was always experimenting. That was mozarts main gift. He also worked very hard on his craft and man it showed in his 30s. Beethoven would've had no chance if mozart lived another 15 or 20 years.
@@beethovenlovedmozart beethoven is also a beast. one of a kind. he has his own thing going on. they are just distinctly different my man, Art is not a competition. if we only have Mozart and no Beethoven or any other magnificent composers, the world would be poorer indeed.
What a beautiful 4 hour journey. How lucky are we to have had musicians like Mozart.
An honor to have studied with Lili. I listened to her recordings repeatedly as a child and finally got to be under her tutelage as a 31 year old.
What a privilege, can we share an anecdote about his teaching?
@@classicalmusicreference For me an anecdote not with Lili Krauss-Teacher but Concertist Lili Krauss very far from to day and j remember very well : when she appears on stage she had a top black hungarian hat unforgettable on her head , a hungarian black dress with J dont'write in english ( une large écharpe blanche en dentelles sur les épaules ) In bis Lili Krauss pkayed " alla turca " and saluted the audience crossing hers hands : j remember fotever " alla Turca " by Lili Krauss it''s was in 1956 " Salle Pierre Bordes " à Alger where Samson François played his Concerto in 1957 , j was a young lover-music and j had already bought " alla turca " by Marcelle Meyer recording in a little 45 t vinyl . Many pianists recordings were in little vinyls vinyls as also : " The Harmonious- Black Smith " by Wilhem Kempff .
She plays Mozart beautifully! It is as though she was made for his music.
J don't see an other pianist in Mozart , all famous pianist have a composer , of course Rubinstein play all composers but not as a pianist who worked a composer during all in life . There is a particular Mozart in Adagios sonatas concertis by Clara Haskil with in more a melancolic , nostalgic , dreamer almost as a suffering of his soul . Haskil had a life more difficult by her difficult physical , during war 1940 ' not Lili Kraus . Except thoses differencz j can say there were two Mozart Haskil- Krauss the others pianists are all very good ( mostly Geza Anda ) but there us not this above the notes , there are no word , that is with Lili Kraus . Not possible to listen Mozart if we don't known thoses two pianists : same thing Rubinstein Cortot S Francois with Chopin
@@classicalmusicreference He's lying.
Lili Kraus had too tumultuous a life to play it safe. Instead she played like a human being. Others may be more immaculate, even more elegant but Kraus reminds us that Mozart first and foremost was an opera composer, especially when he was writing concertos for himself. Most notes mention Lili’s more famous teachers, including Bartok and Schnabel, but look on UA-cam for radio transcriptions of another one - Severin Eisenberger - and hear where she learned to communicate. Thanks so much for sharing all this (earlier concertos are also posted).
Lili Kraus surely deserves, but doesn't really need, additional praise from me. I'd like to praise the often-unmentioned conducting by Stephen Simon here, so well paced, balanced, and dramatically phrased. This was a happy collaboration indeed.
The perfect union between composer, conductor, orchestra, pianist, and instrument. Exquisite. The language of the Gods.
I always get emotional when I hear Piano Concerto No.20 in D minor, K.466 II. Romance (13:34). Takes me back to the credits of Amadeus and how wiped out I feel after watching that movie!
There is Mozart, and there's the rest of them. Not that they're all alike, but he is one of a kind.
there few things im always agree with, this is one of them.
Das ist Mozart in höchster Vollendung.
non, il y Bach est le reste. faut pas exagerer...
@@Philobach Not sure Bach and Mozart can be compared to one another. Both are coming from a completely different mind-set and both are kings of music making.
@@traditionalgirl5585 Bach davantage
I absoloutly love these versions . Kraus and her fellow musicians play Mozart because they love it. One can hear how much they enjoy to do so. They're not trying to impress any one 🙂
I'm drawn to each piece when Lily plays it, from No. 20 to No. 27.
I've wondered why, and thought about it a lot, but I don't know what it is.
I think there must be something to it. Perhaps it's Lily magic.
In any case, it stirs the soul of the listener.
Throughout the performance, Lily's touch on the keys is strong, making Mozart's melody stand out even more beautifully. I feel that she values each and every note.
(There is something about her that is similar to Furtwängler.)
Lily's piano has clear musical lines and is pleasant to the ear.
Lily's piano sounds are gentle, beautiful, rhythmic and powerful.
I've listened to Nos. 20 to 27 in a row countless times on UA-cam (over 150 times, which may be over 600 hours),
but I never get bored of listening to them.
I can always listen to them with a fresh feeling.
It's probably similar to the feeling of walking along a mountain ridge.
I'm walking along a beautiful path (Mozart's melody), carefully checking each step.
There are flower fields all around, cliffs below, and steep slopes and rough roads.
As she crosses eight passes and peaks (8 songs/Nos. 20 to 27).
Perhaps Lily is playing with such scenes in her mind.
I listened to "Mozart-Piano Concertos No. 20, 21, 22, 23, 24, 25, 26, 27" on UA-cam. I didn't even know the name Lily Krauss. I knew that Mozart's late piano concertos were good pieces, so I tried listening to them without any preconceptions, but it felt like something completely different from what I had heard before. I tried to express its goodness in words, but I couldn't think of anything. The piano sound is clear and crisp, and each note sounds like it is bouncing powerfully and has a sense of dynamism. The timing is good and the rhythm is rhythmic. Every piece is beautiful and flowing. I am filled with gratitude for having come across such a performance.
A deep, profound sound. Finite and infinite ineffable emotions are mixed into the sound of each and every note. Each note in the slow movement in particular has a philosophical sound that makes you think deeply. What meaning did Mozart entrust to each and every note?
Как всё же прав был Чайковский, который сказал, что самая яркая звезда на музыкальном небосводе-это Моцарт!!!!!
LILI KRAUS INCREDIBLE ONE OF THE GREATESTS PIANISTS EVER - MARVELOUS MOZART PIANO CONCERTOS RECORDINGS
These concertos are what made me fall in love with classical music.
Someone asked me years ago if I was stranded on an island and had the choice of only one composer to listen to for the rest of my life - out of all the musicians and composers who have graced this planet since time began - who would I choose..?... instantly I answered Mozart.. NO ONE has such a prolific and diverse collection of compositions.. NO ONE comes even close to his range of musical scores.. it was a very easy decision.. you never get bored with Mozart.. A True Genius and Prodigy 🙂
Thank you for this. Of course, "The Big Piano Concertos" are the climax of Mozart's work. Breadwinners or not, they were HIS and HIS only. He was the author, the conductor and the performer with them. Nothing else shows his personality as much, what he was both outside and inside. Sometimes, I can see his face, his posture, his movements in this music, his absolute enjoyment of playing it. They all reflect his persona, one way or another. But as much as I know about him, as much as I read in any language I could understand, I see his most precise selfportrait in #23-II. Sadness hidden behind a wide smile, wisdom in the shadow of a joke.
That was a lovely post Olga.
Lili's beautiful touch blends well with the delicate interpretation of the orchestra makes me listen on and on nonstop. I just cannot help it. I must stop now to do my work. No. I cannot stop. How can I stop now!
Like poetry. 23 II is one of the greatest compositions of all time...
@@sorousha19 Absolutely true. I believe Mozart composed that movement just for himself, not for any particular audience.
His #26 under the radar is thr beginning of a new era. Lots of Romantics loved this piece
This is a "Century's Record" without any doubt. This sublime recording of the Mozart Piano Concertos was perhaps the apex of a dynamic relationship between the gilded American Stephen Simon, and Lili Kraus through whose veins flowed the pianistic tradition of Central Europe. For her it was the culmination of a life's work and perhaps for Stephen Simon, who conducts with sensitivity and balance, it too, marks a personal highpoint. His influence no doubt created the mysterious Vienna Festival Orchestra, probably made up of the most able musicians freelancing from the Vienna Phil. The remastering reveals a glorious sound. I cannot recommend these recordings highly enough.
Best 4 hours of music ever written. Thanks!
But we haven't even touched the operas! Or the symphonies! Or the sacred! Or the... ;)
3:57:55 hours to be exact.
Daniel López Stop being so dam technical! Smh
@@mathieuguillet4036 Or the Requiem, one of his best masterpieces.
Every time I listen to No. 21, Andante, I have to listen to it at least 4 times and...... everything else in the world just fades away............ Mozart has the ability to do that.
Lili Kraus’ old Steinway is unbelievably beautiful. I have never heard the sound emanating from a piano that sounded this grand. It must be a class “A”. Sound quality is grand, clear, both loud or quiet passages are as they say, ‘music’.
Of course, without Mm Kraus would come to none.
The re-digitized sound quality is superb.
There’s a mistake at the beginning, piano isn’t my favourite instrument haha
@@hans-jorgrechtsteiner1070 It's probably a Steinway since Lili Kraus was a Steinway artist, although I've no idea of the year of the piano she was using.
This is by no means Bösendorfer sound, but Steinway... Why did you think so?
Quizás sea un Witemburg!
What a shame this great artist didn't get to record much with regular world-class orchestras, instead of these ad hoc 'festival' orchestras cobbled together for recording occasions. As for pianos, I'm not sure it's a Steinway. If it is, it will be the 9' Model D, not the 6' Model A.
I listened recently to her Schubert D. 960. An ethereal spiritual quality that makes so many other recordings - even by eminent pianists - seem ordinary, pedestrian. Aals, a glaring slip in the very last line of the 40 odd pages which should have been corrected.
In my humble opinion, the entire renditions by the late great Lilli Krauz of Mozarts Piano Concerto's are absolutely amazing soothing to ones ears and inner spirit, if you get my drift. Brilliant.
Mozart rarely composed in minor keys. But when he suddenly changes from major key to minor key, it is just sublime. The No. 23, second movement is my favorite. Beautiful!!
C'était un homme triste, Mozart. Obligé d'écrire de la musique "gaie" pour la Société, il donnait le meilleur de lui-même quand il composait en mineur, car c'était le plus profond de son âme. Ceci posé, il s'est beaucoup "inspiré" (pour ne pas dire plus) de Johann Christian Bach. Écoutez donc les concertos pour piano de celui-ci op. 13. Vous allez.. entendre. J'ai failli écrire "voir"!.
Quant à Lil Kraus, elle a des passages où elle fait des accelerandi non justifiés. Peut-être par nervosité. Seul celui qui n'a pas joué en public ignore ce que c'est cette énorme nervoité que l'on appelle "trac", "Lampenfieber", "stage fright". Personne ne peut y échapper, pas même les plus grands et les plus routinés. Un de ces grands disait:"Après la première fausse note je n'ai plus de trac". Ayant demandé à un grand maître de la baguette ce qu'il voulait exprimer par les grands cercles dessinés, de temps à autre, par son bras gauche. Réponse:"C'est quand j'ai oublié la partition et ne me rappelle pas les entrées." Et c'était l'un des cinq ou six des plus grands du monde de son temps (1940-1960s). Il a été l'un de mes deux maîtres. RIP et un grand merci, Maestro!
yea No.23 2nd movement is the most beautiful piece with over-flows of peaceful serenity, especially with the rendering of the clarinet... loved that melody for almost 20 years( I always linked it up with the 2nd movement of the clarinet concerto) . And as for the minors - you're right, Mozart seldom composed in them for piano works with two exceptions - the two most epic ones are the No.20 and No.24 both in d minors... the No.20 was such a magnificent materpiece that Beethoven once commented that no one ever would compose out something like that
Agree.
23's Adagio is a piece from heaven.
I love Perahia version too.
I believe the slow movement of #23 is the only one in the piano concertos to be marked Adagio which for a composer in the austro-germanic tradition is more than a tempo marking: it implies music of a deeply profound type. The extraordinary Adagio Sostenuto of Beethoven's great Hammerklavier Sonata is also in f sharp minor like Mozart's, and seems to me to have been influenced by the Mozart slow movement.
...very important words!......minor.mozart...paolo zirilli
ottime esecuzioni colto lo spirito di Mozart . brava lili
I've noticed listening to concertos by Mozart that he is one of the few classical musicians that makes you want to dance, and not feel the less smart about it.
LILI KRAUS!!! Beautiful, crystal interpretation!
I treasure Mozart’s music. A true
Genius and his music is a treasure.
I agree totally
The real man who Kickstarted beethoven and romantic period. The guy that everyone says didn't write serious music. Mozart was the most gifted composer ever to breath on earth
@@beethovenlovedmozart His music is the most serious and most beautiful music ever composed which came from his heart. When a music reaches to this level and depth, there is no need for the melodramatic Beethoven and his followers.
I have been listening to these concerts for many years and I have no words to describe its beauty. Perahia, Brendel and Lili Kraus are my favorite pianists to play it. Lili Kraus is simply wonderful: her playing is so impressive, unique. She was a great mozartian player, among the best genius I have been known!
So do agree of her performance quality! Murray Perahia is, for my taste, near perfect. He provides the most soft, slower and sensitive interpretation of 1 through 27! Again, my taste. Lili Kraus is a little quick which, to me, detracts a bit. To show you how critical I am, I consider Horowitz something of a key-banger.
Taste! We all have our individually.
I have not nor will I ever tell anyone how to listen to or enjoy any form of musical entertainment.
Willie Nelson wrote the music his own lyrics to Angle Flying Too Close to the Ground. It is simply beautiful! Taste. The loveliest piece of music he ever composed or performed. Again, taste!
We should all thank our lucky stars for the masters and contemporary composers, Mozart working in a virtual dungeon and those today in comfortable studios, well equipped electronically with a Black 7 Foot 2, Steinway and Sons Concert Grand Instrument.
There will be agreement and criticism. Love to here it all.
@@jameswidman2780 Lili Kraus somewhere described that she had learnt more from playing original Mozart-time pianos, more than from any teacher. Now the tone of this pianos showed a much faster decline during time than is the case with modern pianos. Therefore to link the melody and fill the space you need a slightly faster tempo, which makes also sense because then you get even in Mozart a Beethovenian drive.
Murray Perahia playing Beethoven - superb
You can't change any note in Mozart's pieces, it's just always perfect.
38:06 I have been trying to find this part for years. I heard it while driving along I-70 from Colorado toward Utah in the twilight with sandstone hoodoos around me. Majestic! Now I know it's _Piano Concerto No.21 in C major, K.467 Ⅰ. Allegro maestoso!_ Thanks!
Thank you Lili Kraus/Simon for the nice recording.
I am grateful to the people (the orchestra and the performer) who work so hard to revive this magnificent, brilliant music....thank you. You make this world a better place, you transform it.
Mozarts piano concertos are for me his best works
The best 0:00 ~ 3:57:55
OK
The 20th concert is just beyond beauty...
Gorgeous, thank you. 4 hours of pure beauty starting with the operatic style opening of 20, and then on. Ms Kraus and this conductor and orchestra competently explore Mozart's incomparable works. I am sure that Mozart would have loved the fact that his music still delights people the world over and the way his piano has been developed over two or so posthumous centuries.
Lo bueno perdura ,lo maravilloso es inmanente!!
well said
Mozart's music invites me into the comfortable and fascinating world
Mozart's works are the cradle of my nostalgic memories
While listening to Mozart's piano works,
it is special to see the shining famous autumn Moon over the bamboo grove In Kyoto's Sagano , Japan
The autumn is around the corner
Many years ago, Mozart was my introduction to great compositional music. What better place to start than with the versatile, inspired, and gifted master of melody and form.
Oh, so true.
Tänk om Mozart hade fått leva ytterligare 35 år, vilken enorm musikskatt hade vi inte kunnat ha möjlighet att lyssna till?!
Imagine if Mozart had lived for another 35 years, what enormous music treasure could we not have been able to listen to ?!
Stellen Sie sich vor, wenn Mozart noch 35 Jahre gelebt hätte, welche enorme Musiksteuer hätten wir nicht hören können?!
¡Imagínese si Mozart hubiera vivido por otros 35 años, qué enorme impuesto musical no podríamos haber escuchado?
The Concerto No. 21 is actually one of the pinnacles of Music
Totally agree pal. Lili Krauss is amazing but I prefer Yeol Eum Son's interpretation. Check it out if you haven't already.
ua-cam.com/video/fNU-XAZjhzA/v-deo.html
Mozart is one of the pinnacles of Music. ;)
20
@@danielbetancourt1483 21
Mozart is overrated.
Mozart's later piano concertos are spectacular. I could never pick a favorite.
Very spectacular, yes, goodly!!!!!
So true. Objectively, no one is greater than another. Just the same, the last movement of number 23 is like listening to a perfect story told by a perfect storyteller. I have listened to it hundreds of times over the last fifty years, and it has never ceased to amaze me. It's as close to perfection as anything I know.
Lili was without a shadow of doubt simply a phenomenon. Completely and utterly awe inspiring. God bless her for the legacy she bequeathed to us.
Je suis content d'écouter Mozart car comment peut-on vivre sans écouter Mozart?
I love Herr Mozart so much! He's the number 01 between the classical composers I love more (and more). Greetings from Sao Paulo, Brazil, dear Mozart fans.
Mozart and Bach truly stand apart from the other great composers in their genius. The divine beauty which they left us for all time is astounding.
Vc precisa escutar a Alma Deutscher 😊
sur mon lit d'hôpital, j'écoute Wolfgang Amadeus et la vie est plus belle: tant de légèreté et de finesse, tant de fantaisie et de joie rendent la journée moins longue...pur plaisir
Украина, апрель 2022 года. Воздушная тревога, сижу в подвале, слушаю Моцарта. Очень помогает.
Надеюсь, Вы живы.
Храни Вас Бог!
@@amneris78 Живой:) Спасибо вам.
Ukraine will win! Long live Ukraine! - from Malaysia
Ukraine should win ❤
❤
У Моцарта мы слышим Живой Поток Благороднейших Гармоний. И чем жизнь ощущается душой всё более и более опустошительной и тяжёлой, тем ярче удивляет и радует нас Небесное Искусство Моцарта!!! Теппер Михаил.
Браво, Михаил! Приятно почитать комментарий единомышленника. Всего вам самого наилучшего. Андрей. Украина.
Thank you for uploading this timeless treasure.
Especially Piano Concerto piano 23 K.488, b, Adagio (1:41:57)
Glorious music! Superb artist! Dear Lili Kraus, always gracious and beautiful whether performing her beloved Mozart, conducting a masterclass or sharing conversation over lunch. She spread joy wherever she went...and now it continues on UA-cam. Thank you, Classical Music! We are much indebted to you!
#22 is no joke either. The second movement was revolutionary and no one realizes it. :) His father attended the premier so you know mozart was going to do extra for his dad in the audience. His dad was in shock. Not of his sons extraordinary talent, but the audience gave a standing applause after the second movement. It was the first time in history that the audience begged for an entire repeat of the second movement in a minor key. Mozart could be himself with minor key. I've said this for the past 20 years. Twice mozart interrupted the minor themes with major themes showcasing woodwinds. Then he would explode back to minor on the piano. The perfect piece to show off to his dad. I'm sure that wad an extraordinary moment for him. That piece was revolutionary in many ways. Mozart elevated the piano with more power in the concerto. Something that later inspired Beethoven.
I’m on your side. The Rondo remains a miracle for me. It is so peaceful but melancholic. It’s so extraordinary.
This was uploaded on Mozart's birthday (January 27). Nice touch :)
I mean, can it get any better than this? The personality of each concerto shines through. All by Mozart and all completely unique. Thank you.
All by Mozart until you get to 10:20. Then you have more than 2 minutes of a pianist who thought she was a good enough composer to improve Mozart's concertos.
lo dedico a mia moglie
sublime
Tim Allen: Sorry, you're way off base here. Mozart left no cadenzas for this concerto, as was often the case with those he intended for his own use. It was the custom of the time, until Beethoven's 5th concerto, to improvise, and many pianists still do, if they can (or play something they've prepared.) Ms. Kraus is playing those left to us by Beethoven, as many pianists still do. If you object, take it up with Wolfie and Louie.
I'm not off base and I have no problem with "Wolfie and Louie". I said the cadenza was not written by Mozart. (BTW, it wasn't written by Beethoven either.) I implied that Ms. Kraus's cadenza is not as good as the rest of the piece and that it was too long and pretentious. If I'm wrong, show me a cadenza written by "Wolfie or Louie" that carries on for more than 2 minutes.
I open the morning,
the window of this day
through Mozart
Juste fermer les yeux pour s'imprégner de la musique de se génie....... Mozart....
Mozart is my favorite composer. Such amazing genius and how he could create his compositions in his mind and write them down while "hearing" them mentally. The book, "Mozart in Vienna" mentioned this as well as that ability is mentioned in other sources as well.
the only explanation to his genius is that he was dictated to by God, or the God of music, Apollo, depending on what you choose to believe in.
Most evidence points that he had a photographic memory. Probably no other composer had this gift. IF He was going to write a new symphony in D, he literally can remember what symphonies he studied in d in his whole lifetime. From papa haydn to Michael haydb or whomever. He liked taking what others did in the same key and then see how he can expand it. His requiem had Michael haydn ideas from his requiem made 30 years earlier and mozart literally only heard it twice as a child.
Thank you for posting these miracles! Thank you Mozart!
Classical music is an incredibly refined and wonderful form of art. It has the ability to express emotions and create a unique sonic experience that no other genre of music can compare to.
Сердечная благодарность за несколько часов наивысшего счастья!!! 💓💓💓👏👏👏
Listening to them in a row reveals to me the extraordinary coherence of Lili Kraus's interpretation, full of operatic fire (what a dynamic range!) - and hence her flawless choice of daring cadenzas in the 1rst and 3rd movements, played as if they were second or even third Durchführungen, all the while keeping an impeccable pulse, thereby intensifying the drama and turning the return of the thematic motives and the tonic in the coda into new heights of radiating intellectual and emotional bliss. With all my admiration for the "historically informed" practice, how fragmented does it seem in comparison with this continuous flow of light!
An absolutely briiliant scholarly comment. Yes, these performances by Lili Kraus are really outstanding . In comparison to other performers of these wonderful concerti she seems to get in to the mind of the young ( he was always young) Mozart. I certainly think that Mozart would smile and approve.
Сверхизящная архитектоника кристальных мелодий, подаренная миру Моцартом !!! Лили Краус - Чудо !!! Теппер Михаил.
Gracias Dios por haber inspirado tanta belleza!!!!...Gracias Mozart, orquestas, editores y todos quienes hayan participado en la materialización de este magnífico regalo!!!
Sublime, único al inspirar al mundo entero sensaciones maravillosas que permanecen vivas, latentes y renacen con la misma fuerza inspiradora de deleite al oído, al alma: eternamente. Incomparable, sin desmerecer a los otros grandes.
Превыше восторга.., превыше восхищения.., превыше слов.. Мятежное маленькое тело с огромной миссией - возвысить человечество, дав ему эстетику этих Божественных музыкальных композиций.
I can't go past mozart's compositions. A true gift from the cosmos. Lili Krause brings his music to life as no other pianist has been able to. Mozart would approve. So good to listen to when settling down for the night.
Wunderschöne Interpretation dieser perfekt komponierten Meisterwerke mit klarem und zugleich anmutigem Klang des Soloklaviers sowie gut harmonisierten und perfekt synchronisierten Töne anderer Instrumente. Was Klavierkonzerte von Mozart betrifft, Lili Kraus ist immer noch die beste Solistin!
Excellente Lili Kraus d'admirable mémoire... Mozart toujours pareil et toujours nouveau !
just listened to this in one sitting while programming. i feel great
Always such a great pleasure to listen to Mozart's beautiful music. Still can't get over how young he was when he passed away. Imagine all the wonderful music he would have composed for our enjoyment if he lived to be 80 years old!
True
Certainly, Chopin, Verdi, Rossini, Beethoven, Schumann, Wagner and others would not be as well known as they are today, as he was going to totally change classical music.
Thank you! Lili Kraus was the inspiration for me to play piano when I was a child. For me Lili Kraus is also today the reference how to play a Mozart concerto.
No one has commented on Concerto 22; it was not familiar to me and the Andante is just stunning. Thanks.
ИДИОТ!!!
This #22 is another hidden gem. Interesting story about the andante movement. His father attended the premier of this concerto and he was shocked when the audience gave mozart a standing applause after the second movement. He was like "what's going on here?". It was the first time ever there the audience asked the performer to play the second movement over again. Unheard of at the time for a minor key work.
The second movement plays to mozarts strengths. Since its in a minor key, he could be serious without consequences. Also he was the first to really bring piano as tbe dominant instrument in a concerto. He was a top 10 pianist of all time.
I also believe when he went to two themes in a major key twice in this movement a s returned with thunderous piano in minor, it was really different for the time
Listening to this recording I can understand why Lili Kraus is rated as one of the great Mozart interpreters. Her touch is sensitive and articulate. Her dynamic range is wide. Her phrasing makes the music sing.
I hope you upload concertos 1 thru 19, especially my favorite, number 15, k450!
I think Lili Kraus and Dame Mitsuko Uchida
Have you heard number 9 ("Jeunehomme")? It's simply beautiful
Stunning playing by Lili Kraus.....she makes the piano sing with beauty!!
(Wikipedia)
Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family.
She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition.
Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945.
After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986.
Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
Прослушав все эти концерты, я пришёл к убеждению, что с человечеством через Моцарта Говорил его Ангел-Хранитель ! Большое спасибо всем, кто помог появиться в Интернете эти чудесные концерты ! Хочу особенно подчеркнуть бесподобную игру милой Лили Краус !!! Теппер Михаил.
Михаил, отлично сказано: "бесподобная игра"! В моей коллекции есть записи этих концертов в интепретации Гезы Анды (Geza Anda, piano and coductor) и Camerata Academica des Salzburger Mozarteums. Тоже весьма достойное и волнующее исполнение
Да, Михаил, исполнение виртуозно. И музыка бесподобна...
Los movimientos lentos de los conciertos para piano de Mozart nos muestran su faceta emotiva. Es la emoción que suscitan aquello que los hace tan queribles, en tanto que en los allegri y movimientos más rápidos está el Mozart genial, capaz de improvisar el movimiento en el mismo momento en que el concierto recibía su primera ejecución. Las grandes pianistas como Lily Krauss, Clara Haskill y Mitzuko Ushida nos entregan, con delicada sensibilidad femenina la emotividad de los movimientos lentos. La gran música, la de Mozart, la de Bach, la de Beethoven, la de Schubert, la de Brahms, la de Bruckner y la de muchos otros me han hecho llevaderos los confinamientos impuestos por la pandemia COVID19. Gracias a UA-cam es posible, hoy, disponer de casi toda la gran música que se ha grabado. En 1960, en Chile, cuando los equipos de reproducción no estaban al alcance de la gente de ingresos bajos hubo un hombre que hizo a mi país uno de los regalos culturales más grandes que hemos recibido, creó la radio emisora Andrés Bello dedicada exclusivamente a la gran música. Ninguna calle de Santiago de Chile lleva su nombre civil, James Morrison, o su nombre de comunicador social, Jimmy Brown. Sí hay calles con nombres de futbolistas.
Mozart: sovrumano, sublime, paradisiaco. Dalla sua incomparabile creatività, penso avesse un “link” permanente con il soprannaturale.
Love from the deepest of my heart 23 and 25. Thanks a million to Sony Music.
ﾘﾘｰさんは自分が思い描いたﾓｰﾂｧﾙﾄの世界を表現できる悦びを噛みしめながら、
喜び勇んで生き生きと奏でているようにみえる。
ﾓｰﾂｧﾙﾄが晩年に経験したであろう辛い悲しみや苦しみに思いを
寄せながら、それを表現しようとしている。ﾒﾘﾊﾘのある強く意欲的なﾀｯﾁに
それが表れている。
他の有名なﾋﾟｱﾆｽﾄの演奏を何人も聴いているが、ﾘﾘｰさんのように
感動することはない。ﾘﾘｰさんは本当に素晴らしい。
Lily seems to play with joy and vigor, savoring the joy of being able to express the world of Mozart that she imagined. She is trying to express the bitter sadness and suffering that Mozart must have experienced in his later years, while thinking about it. This is reflected in her strong, ambitious touch with strong contrasts. I have listened to many other famous pianists' performances, but I have never been as moved by them as Lily. Lily is truly wonderful.
Thank you for uploading this! And indeed a big thanks to Sony Music for their generosity in allowing this release.
;-)
Es maravilloso y celestial escuchar a Mozart, me transmite una gran tranquilidad y bienestar en mi ser. A través del piano, la música es mágica y te une de una dicotomía entre el cuerpo y la mente.💯 x 💯 admiradora de Mozart y claro..!! de Lili Kraus. Gracias.
Mozart's music changed my life and enriched my existence. Gracias Maestro.
一音一音が生きている。生きる力を与えてくれる。
叱咤激励されているように感じる。
ﾓｰﾂｧﾙﾄの素晴らしさを改めて認識する。
ﾘﾘｰさんのﾋﾟｱﾉは生き物のようだ。
Грандиозно! Огромное спасибо за бережное сохранение мирового культурного наследие. Ваш труд делает вам честь .
Прекрасна музика! Відчувається високий професіоналізм диригента і оркестру...
This group of Mozarts Piano Concertos (20+) is the best music that has been vorever written.
Nonsense.
@@shnimmuc Absolutely! Just listen to Kanye West, now THAT's music
@@cristobocarrin1746 Silly
(Wikipedia)
Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family.
She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition.
Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945.
After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986.
Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.[1]
Lily managed to convey the live musical fabric of Mozart's piano concertos !!! Tepper Michael.
Je vais prier pour exulter ma joie auprès de notre Dame de la PAIX !!!!!!!!!!!!!
Concerti meravigliosi, uno più bello dell " altro!@!
Grazie a chi li condivide con l 'umanità intera.💕💥💚
Condivido.Mozart, dono di Dio!
Such a splendor. I can't resist coming back for more and more. Those recordings of Madame Kraus are some delightful stuff. Thank you CM/RR again.
Lili Kraus était une remarquable mozartienne. Merci de lui rendre hommage.
(Wikipedia)
Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family.
She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition.
Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945.
After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986.
Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
эти концерты-это какое то бесподобное чудо, совершенно изумительное божественное творение. Огромное спасибо
There is a reason beethoven stopped at 5 piano concertos. He had exhausted all of mozarts ideas and his style. He simply didn't know what to compose next that would measure up to past works.
Вершина европейской культуры. На мой взгляд.
@@beethovenlovedmozartWhere did you get that idea?
Find out, study and you will find that your statement is not true.
@@patriciabravoriscal6264 what year did he come complete his 5th piano concerto? When did he die? How many years in between? He quit making piano concertos because he couldnt hear anymore and therefore didn't want to perform them. But in my opinion, he also couldn't do anything better. He exhausted mozarts imagination and his own when it comes to performing at a piano. His 5th has so many mozart ideas it's not even funny. He gave it up because he couldn't do variations anymore. Plain and simple. He was no mozart. He was a great piano player with average melodic talent who fooled even you into thinking he was more than that. When you spend 4 years on your last concerto, it should be good.
@@beethovenlovedmozart It's clear that you are narrow minded.
Maravillosa música es mi alegría de mis días,...! Felicitaciones....!!!! X mantener a diario estos clasico...
Майже чотири години чудових фортепіанних концертів неперевершеного Моцарта, та ще й без реклами! Найщиріша подяка!
Александр Измайлов c vbvbaareimboembggy
It took me a long while, but I finally figured out mozart. No matter how hard you study, as Beethoven found out, you will never be him. Why? He remembered everything. It's really that simple. He had an unbelievable ear, math genius, and can remember everything he hears or touches. He could be extraterrestrial for all we know! Mozart reused his old melodies all the time because they were simply in his head and he was trying to make them better. Piano concerto #22 for example, 3rd movement is an example where only mozart could do it. Beethoven couldn't have that creativity to save his life. His memory was the main difference! You can hear it in his music. Every concerto gets better and better at something because he can always recall what he did. It's what made him tbe greatest ever.
I have this channel plying over and over again all day long.And when I come home, this divine music greets me.....Thank you....
Enjoy :-)
Слушаю и слушаю... Сыграно интересно, по женски - мягко, нежно, с любовью. Восторг.
what still seems incredible is that in the times we are leaving we have access to so many wonderful music, documentaires, movies and that we can communicate immediately with anybody anywhere . only 40 or 30 or even 20 years ago was unthinkable.
I still remember having to ask the operator to place a call for me, If you wanted to call abroad she would take down the number then call you several hours later with someone on the other line. Yes I am old but i still yearn for simpler times
Only one thing was better 50 years ago. I was 50 years younger. Other than that, the present is far superior.
Yes, this is what I love about UA-cam.
@bill Bloggs lol i was thinking the same thing.. but enough of the elites corruption lets just enjoy the beautiful music
@bill Bloggs what do you think who started that all? Surelly it wasn't someone born in 2001. It was that careless generation 50-100 years ago that accelerated every Decadence of Society with their world wars, globalism and uninterrupted capitalist monopoly
Every Mozart's piano concert is a piece of art, but I feel number 20 is special, precious... and a little similar to Beethoven music style
It was written just before 18th-century French revolution 1789 year (2 or 3 years before) and yes, Beethoven wrote coding for 1st and 3d parts
Numéro 21 pour moi😊...
Yes, agreed. They transcend time and place, as does symphony No 40
I can't get over the recording quality. Combined with Lili's playing this has been an unforgetable find, right up there with Brendel, Perahia et al
@@larisajeshe108 Amazing! Thanks for telling us