Angela Hewitt, Hannu Lintu & National Arts Centre Orchestra - Mozart: Piano Concertos Nos. 22 & 24 (2014) [Hi-Res]
Artist: Angela Hewitt, Hannu Lintu, National Arts Centre Orchestra
Title: Mozart: Piano Concertos Nos. 22 & 24
Year Of Release: 2014
Label: Hyperion
Genre: Classical
Quality: FLAC (tracks, booklet) [96kHz/24bit]
Total Time: 01:03:17
Total Size: 1.04 GB
WebSite: Album Preview
Tracklist:Title: Mozart: Piano Concertos Nos. 22 & 24
Year Of Release: 2014
Label: Hyperion
Genre: Classical
Quality: FLAC (tracks, booklet) [96kHz/24bit]
Total Time: 01:03:17
Total Size: 1.04 GB
WebSite: Album Preview
Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto No 22 in E flat major K482:
1. Allegro [13:43]
2. Andante [8:01]
3. Allegro [10:57]
Piano Concerto No 24 in C minor K491:
4. Allegro [13:56]
5. Larghetto [7:18]
6. Allegretto [9:22]
Hyperion is delighted to present Angela Hewitt’s third volume of Mozart piano concertos. Writing in The Observer, Stephen Pritchard wrote of the first volume that ‘Judging from this first example, it’s going to be a journey as revelatory as her exploration of all the major keyboard works of Bach’.
Here Angela Hewitt is joined by her compatriot National Arts Centre Orchestra of Canada and frequent collaborator Hannu Lintu for sparklingly stylish renditions of Mozart’s Piano Concertos Nos 22 and 24.
Both of these works were written between December 1785 and March 1786. For the first time in a piano concerto orchestration, in No 22 he uses clarinets—an instrument that became a regular member of orchestras only in the 1780s. No 24 is a dark and passionate work, made more striking by its classical restraint, and the final movement, a set of variations, is commonly called ‘sublime’.
Here Angela Hewitt is joined by her compatriot National Arts Centre Orchestra of Canada and frequent collaborator Hannu Lintu for sparklingly stylish renditions of Mozart’s Piano Concertos Nos 22 and 24.
Both of these works were written between December 1785 and March 1786. For the first time in a piano concerto orchestration, in No 22 he uses clarinets—an instrument that became a regular member of orchestras only in the 1780s. No 24 is a dark and passionate work, made more striking by its classical restraint, and the final movement, a set of variations, is commonly called ‘sublime’.