Here is the complete recordings of Mozart concertos by Geza Anda, except the concerto for two pianos K 365 (No. 10) he recorded with Clara Haskil and which is copyrighted by EMI and not Deutsche Grammophon (reissue the collection "References" unfortunately found today) and the concerto for three pianos (ranked "No. 7") that Anda never recorded. Geza Anda (1921-1976) is one of the great Hungarian pianists of the twentieth century, it was one of the pillars of the Salzburg Festival in the years 1960-1970 and that is why he chose to work with the Camerata Academica of the Mozarteum Orchestra composed of students and teachers of this institution he knew well; this collaboration allowed him total control over the implementation of these recordings, prepared by numerous concerts and rehearsals, and where he himself directed the orchestra since its modest-sized piano like Mozart often made. The result is extraordinary, initially by the homogeneity of stylistic choices and by the fineness of detail nuances that continues to enjoy increasing gradually as we replay such discs. Anda is fed pianist of the whole tradition of the Austrian and Hungarian piano (pupil of the great Ernst von Dohnanyi). It is also the greatest interpreter to date concertos by Bartok, he recorded with Ferenc Fricsay and this also meant as a Mozart, which certainly remains totally respectful of Mozart stylistically specific, but benefits of digital power formidable pianist, who knows when to contain: a Mozart never mawkish, never complacent, but transparency, an absolute precision, served by a touch of a total delicacy, in an exemplary compliance scores (in the state where at least we knew them at the time, records of Alfred Brendel, for example, with Neville Marriner, have since made some corrections on some reading ornaments). Everything is JUST in this vision of Mozart, made of humility and grace, favoring tempi a little slower than usual. There are many beautiful recordings of Mozart concertos, of course, but it will be more severe with many of them when we have listened to those, who truly emerging as a leading reference. Note that this kit allows you to listen the first 6 concertos, often neglected, that are known are generally considered inferior to the rest of the production of Mozart: the young Mozart does not hesitate to adapt, in effect, or to imitate until pastiche (or until plagiarism!) composers of sonatas movements they admired. Yet what Anda shows is that in these "loans" that would not have allowed later, Mozart already operates considerable changes that herald the coming splendors. Of course, from the Concerto No. 9, said "Jeunehomme" everything changes: one enters another world. The value of an integral is to show that this masterstroke was prepared long before.
