The most indisputable reference in the piano concertos of Mozart

To understand the importance of this case in the discography, we must understand that when you know, you tend to forget that there are other integrals of piano concertos by Mozart ... Already several times published in cabinet (but more expensive, that the presence of an otherwise very succinct booklet can justify) this integral was recorded between 1975 and 1990 by the American prodigy, Murray Perahia, pianist certainly the most consistent style, safest, and consistency admired for many decades, a "leg", a mixture of perfect articulation, subtle intonation, lyricism and delicacy, that score as well in as in Mozart Chopin and Bach, among others hits.

But the success of this integral exceeds anything Perahia was able to undertake further (and this is perhaps due to the fact that it dates from the period when he was the most productive and in full possession of his faculties, before problems health to the joints of the hand, which made it more rare since the 1990s). Not only because the grand style he has shown to be quite Mozartian genius that always indefinable mixture of youthful enthusiasm alongside abyss of sadness, but because he always wins the ranks of the English Chamber Orchestra, sounds more consistently yet, denser, more chamber in short, as in other recordings, Perahia playing WITH them rather than their head (as did brilliantly elsewhere, but differently, Daniel Barenboim). The dialogue between the pianist and his teammates then, is always excellent, of mutineer in the early works there is more quivering approaching maturity, and deals with all modesty classicist most tormented pages, more passionate, more touching for a strong convincing result.
Therefore difficult to define a "summit" in this case because nothing is worse than the rest. However two concertos content are particularly endearing: the concerto for two pianos (K.365) and that for three pianos but settled here for two (K.242). Indeed, Perahia and Radu Lupu joined on this occasion offer a musical dialogue lesson, a duo (a trio with orchestra) copy, full of joy, fun to play together for a truly exhilarating results!

To return to other integrals boxes available, not necessarily bad for that matter, the pioneering work of Géza Anda with the Mozarteum remains inimitable, and the young Barenboim with the English Chamber Orchestra has also established a kind of standard, a bit more robust (or heavy, it depends). We can however mention the hassle Brendel indigestible and insipid Uchida, and if you prefer we want a pleasant change juvenile Bilson with Gardiner and very energetic and green Viviana Sofronitsky. Without of course forgetting the isolated versions Casadesus with Szell (absolute must), Lili Kraus, Clara Haskil, Christian Zacharias (especially the new cycle in MDG) and many others of course.

Here not only the most essential reference (and certainly one of the best recorded, by the way!), The most consistent through all concertos, one that showed the most "median" tasteless outbursts romantic or sharp baroqueux ... But also now the cheapest, and it made a lot of good reasons not to hesitate!