Collection Piano21

Volume 3 of the complete Mozart concertos for Piano and Orchestra, recorded live by Cyprien Katsaris in the Grosser Saal of the Mozarteum in Salzburg with the Salzburger Kammerphilharmonie under the direction of the Korean conductor Yoon. K. Lee features Concerto No. 24 in C minor, K. 491 and No. 18 in B flat major, K. 456. The decision to put these concertos on one CD was based on the fact that both contain variations, which are very rare in Mozart's concertos.

Another unique feature of this recording is the two cadenzas, compositions in themselves, which Katsaris has created for the first movement of No. 24 : whereas the first endeavours to approximate to Mozartian style, the other, freer cadenza, affects an affinity with Beethoven, who indeed was known to have Mozart's 24 th in mind when he was composing his own 3 rd Piano Concerto, also in c minor. Katsaris renders this idea musically by summoning up Beethoven through highly refined musical devices, such as his allusions to the finale of the Sonata Appassionata.



		With volume 6 of the complete Mozart Concertos, Cyprien Katsaris, Mari Ota and Eung-Gu Kim and the Salzburger Kammerphilharmonie under the baton of the Korean conductor Yoon K. Lee address the Concertos for two and three pianos, K. 365 (K. 316a) and K. 242. These pieces, written in Mozart’s home city, bear witness to the relationships Mozart enjoyed with his pupils in the Salzburg aristocracy. Composed for Josepha Barbara von Auernhammer, the Concerto for Two Pianos K. 365 (K. 316a) is characterised by its virtuoso interplay between the pianists ; the use of the two instruments afforded the composer an opportunity to establish a continuous dialogue. The Concerto for Three Pianos K. 242 was dedicated to Countess Antonia Lodron and her two daughters Aloysia and Josepha. This elegant, very distinctive piece reveals Mozart’s concern to avoid upsetting his public or his patrons by too great a show of passion …It is of no little interest to hear the two-piano version of the same Concerto as revised by the composer to play with his sister Nannerl. Christian Lorandin
		No works could be more contrasting than the three offered in Vol. 5 of the Complete Concertos for Piano and Orchestra by Mozart, played and recorded live by Cyprien Katsaris in Salzburg and Vienna with the Salzburger Kammerphilharmonie and Yoon K. Lee. The consummately aristocratic elegance of Concerto K. 246, composed for Countess Antonia von Lützow is followed by Concerto K. 449, dedicated to Mozart's pupil Barbara Ployer, into which Mozart instills a very personal, intimate language, giving free rein to many changes of mood. The brilliant Concerto K. 450 is one of his most virtuosic; Mozart reserved it for his own private use.
		Volume 4 of the complete Mozart concertos for Piano and Orchestra, recorded live by Cyprien Katsaris in the Grosser Saal of the Mozarteum in Salzburg with the Salzburger Kammerphilharmonie under the direction of the Korean conductor Yoon. K. Lee features Concerto No. 21 in C major, K. 467 and No. 16 in D major, K. 451. In this recording, C. Katsaris has included his own cadenzas, compositions in themselves, for the first and third movement of Concerto No. 21 : Cadenzas “A” affecting something close to Mozartian style and Cadenzas “B” following a freer pattern.
		Volume 3 of the complete Mozart concertos for Piano and Orchestra, recorded live by Cyprien Katsaris in the Grosser Saal of the Mozarteum in Salzburg with the Salzburger Kammerphilharmonie under the direction of the Korean conductor Yoon. K. Lee features Concerto No. 24 in C minor, K. 491 and No. 18 in B flat major, K. 456. The decision to put these concertos on one CD was based on the fact that both contain variations, which are very rare in Mozart's concertos. Another unique feature of this recording is the two cadenzas, compositions in themselves, which Katsaris has created for the first movement of No. 24 : whereas the first endeavours to approximate to Mozartian style, the other, freer cadenza, affects an affinity with Beethoven, who indeed was known to have Mozart's 24 th in mind when he was composing his own 3 rd Piano Concerto, also in c minor. Katsaris renders this idea musically by summoning up Beethoven through highly refined musical devices, such as his allusions to the finale of the Sonata Appassionata.
		In Vol. 2 (Concertos K. 488 and K. 453) (P21 010), you can hear Mozart's alternative cadenzas.
		It was with the charismatic conductor Yoon K. Lee and his remarkable Salzburger Kammerphilharmonie that Cyprien Katsaris made a live recording of Mozart's complete Concertos for piano and orchestra, in the Grosser Saal of the Mozarteum in Salzburg. In Vol. 1 ( Concertos K. 415 and K. 482 ) (P21 009), Katsaris plays the cadenzas he composed himself, each in two different styles (à la Mozart for the ones integrated into the concerto and the "freer" ones performed as encores).


cyprien katsaris © 2004 , tous droits réservés concept & design : robin pauletto