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Dana Ciocarlie, Open Chamber Orchestra, Yaïr Benaïm - Mozart: Piano Concertos Nos. 8, 9, 12 & 13 (Live) (2024) [Hi-Res]

Dana Ciocarlie, Open Chamber Orchestra, Yaïr Benaïm - Mozart: Piano Concertos Nos. 8, 9, 12 & 13 (Live) (2024) [Hi-Res]
  • Title: Mozart: Piano Concertos Nos. 8, 9, 12 & 13 (Live)
  • Year Of Release: 2024
  • Label: haenssler CLASSIC
  • Genre: Classical
  • Quality: flac lossless (tracks) / flac 24bits - 48.0kHz
  • Total Time: 01:44:08
  • Total Size: 442 / 990 mb
  • WebSite:
Tracklist

CD1
01. Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": I. Allegro (Live)
02. Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": II. Andantino (Live)
03. Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": III. Rondeau. Presto (Live)
04. Piano Concerto No. 13 in C Major, K. 415: I. Allegro (Live)
05. Piano Concerto No. 13 in C Major, K. 415: II. Andante (Live)
06. Piano Concerto No. 13 in C Major, K. 415: III. Rondeau. Allegro (Live)
07. Piano Concerto No. 12 in A Major, K. 414: I. Allegro (Live)
08. Piano Concerto No. 12 in A Major, K. 414: II. Andante (Live)
09. Piano Concerto No. 12 in A Major, K. 414: III. Rondeau. Allegretto (Live)

CD2
01. Piano Concerto No. 8 in C Major, K. 246 "Lützow": I. Allegro aperto (Live)
02. Piano Concerto No. 8 in C Major, K. 246 "Lützow": II. Andante (Live)
03. Piano Concerto No. 8 in C Major, K. 246 "Lützow": III. Rondeau. Tempo di menuetto (Live)

The Open Chamber Orchestra of Paris perform the concertos in chamber form, with Maestro Yaïr Benaïm – who conducts the earlier concertos from the podium in the traditional manner – taking the first violin part, achieving a still closer assimilation with pianist Dana Ciocarlie, throwing into greater relief the spirited lucidity of her playing and demonstrating the versatility of these musicians, both individually and as an ensemble. The sound of the concertos when performed this way is at once slenderer and lither. What one may feel is lost when the works are divested of their mellifluous woodwind colours is more than compensated for by the greater clarity of the ingenious interplay of lines and voices in Mozart’s conception.


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