Mozart: Piano Concerto No. 27 in B flat major
Emil Gilels (piano), with Elena Gilels (piano)
Wiener Philharmoniker, Karl Böhm
Awards:
-
Penguin Guide, Rosette
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm....
Mozart: Piano Concerto No. 27 in B flat major
Emil Gilels (piano), with Elena Gilels (piano)
Wiener Philharmoniker, Karl Böhm
Purchase product
Awards:
-
Penguin Guide, Rosette
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm....
About
Contents and tracklist
- Emil Gilels (piano), Wolf-Dieter Karwatky (videoscripteditor), Jobst Eberhardt (videoscripteditor), Wolfgang Amadeus Mozart (cadenzor)
- Wiener Philharmoniker
- Karl Böhm
- Recorded: 1973-11
- Recording Venue: Grosser Saal, Musikverein, Wien
- Emil Gilels (piano), Elena Gilels (piano), Wolf-Dieter Karwatky (videoscripteditor), Jobst Eberhardt (videoscripteditor), Wolfgang Amadeus Mozart (cadenzor)
- Wiener Philharmoniker
- Karl Böhm
- Recorded: 1973-09
- Recording Venue: Grosser Saal, Musikverein, Wien
- Emil Gilels (piano), Elena Gilels (piano)
- Recorded: 1978-07-21
- Recording Venue: Jesus-Christus-Kirche, Berlin
Awards and reviews
-
Penguin GuideRosette
2010
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations.
We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.