Concerto for 3 (or 2) pianos & orchestra in F major ("Lodron," "Concerto No. 7"), K. 242
Concerto for 2 pianos & orchestra in E flat major ("Concerto No. 10"), K. 365 (K. 316a)
Sonata for 2 pianos in D major, K. 448 (K. 375a)
Historical-instrument performances of Mozart's Concerto for two pianos and orchestra in E flat major, K. 365, and Concerto for three pianos and orchestra, K. 242, are rarer than those for the single-piano concertos, probably because the logistics of bringing together multiple fortepianos are more challenging. This elegant release from Germany's Profil label, under the leadership of Austrian conductor and fortepianist Wolfgang Brunner, shows some of the possibilities that have been missed. What stands out immediately in ...
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Historical-instrument performances of Mozart's Concerto for two pianos and orchestra in E flat major, K. 365, and Concerto for three pianos and orchestra, K. 242, are rarer than those for the single-piano concertos, probably because the logistics of bringing together multiple fortepianos are more challenging. This elegant release from Germany's Profil label, under the leadership of Austrian conductor and fortepianist Wolfgang Brunner, shows some of the possibilities that have been missed. What stands out immediately in comparison with a recording on modern pianos is that the instruments sound different from one another. Two of the pianos are copies of instruments from the workshop of Anton Walter, and the third, used by Leonore von Stauss in the two-piano concerto, is from the lesser-known Viennese builder J.J. Könnicke. The antiphonal passages in both concertos and in the virtuoso Sonata for two pianos in D major, K. 448, take on an entirely new level of variety and interest as a result. The...
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