Bayerische Kammerphilharmonie Alexander Schimpf – Mozart Piano Concertos K. 413 K. 415 2020 Hi-Res 24bits – 96.0kHz

Bayerische Kammerphilharmonie Alexander Schimpf – Mozart Piano Concertos K. 413 K. 415 2020 Hi-Res 24bits – 96.0kHz

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信息属性
  • 艺术家
  • Bayerische Kammerphilharmonie
  • 发行年份
  • 2020
  • 音乐类型
  • 古典
  • 音质
  • flac lossless / flac 24bits - 96.0kHz +Booklet
  • 歌曲时长
  • 01:14:34
  • 文件大小
  • 310mb/1.3gb
详情介绍

01. Piano Concerto No. 11 in F Major, K. 413 I. Allegro
02. Piano Concerto No. 11 in F Major, K. 413 II. Larghetto
03. Piano Concerto No. 11 in F Major, K. 413 III. Tempo di Menuetto
04. Piano Concerto No. 12 in A Major, K. 414 I. Allegro
05. Piano Concerto No. 12 in A Major, K. 414 II. Andante
06. Piano Concerto No. 12 in A Major, K. 414 III. Rondeau. Allegretto
07. Piano Concerto No. 13 in C Major, K. 415 I. Allegro
08. Piano Concerto No. 13 in C Major, K. 415 II. Andante
09. Piano Concerto No. 13 in C Major, K. 415 III. Rondeau. Allegro-Adagio-Allegro

The orchestral debut album of the German pianist Alexander Schimpf, together with the Bayerische Kammerphilharmonie, a professional chamber music ensemble from Augsburg (Bavaria).

Alexander Schimpf “Mozart”019s music poses special challenges to performers, and they have often been pointed out. As it would seem, certain fundamental tensions or contradictions inherent in music making are taken to extremes many works by Mozart require that the instrumental process and conditions responsible for producing the sound should retreat into the background in favor of the musical result as we hear it. No expenditure of energy should be noted or heard. Fine, precise timing adjustments should never sound organized or deliberate. This music should ideally be presented as something that emerges entirely naturally, of its own accord. All the mental and technical effort in the background should be eliminated from the forefront of perception. Otherwise, the typically ‘floating’ Mozartian natural effect, that magical inner balance, cannot emerge… On this recording we make use of the version specifically authorized by Mozart eschewing additional wind parts. Although the wind parts composed by Mozart for these concertos can indeed provide some colour, they do not have anything essential or indispensable to add in terms of musical substance.” (Alexander Schimpf, Booklet)

After a series of impressive wins at competitions in Bonn (German Music Competition), Vienna (1st Prize at the International Beethoven Competition) and Cleveland (1st Prize at the Cleveland International Piano Competition), Alexander Schimpf has been pursuing a successful career as a concert pianist, performing regularly on several continents. Invitations to play solo piano recitals and to collaborate with renowned orchestras have led to appearances in well-known classical music venues such as the Konzerthaus Vienna, the Konzerthaus Berlin, Zankel Hall at Carnegie Hall in New York City, the Marinsky Concert Hall in Saint Petersburg, the Great Hall of the “Alte Oper” in Frankfurt, the Beethovenhalle in Bonn, the Meistersingerhalle in Nuremberg, the Cologne Philharmonie, and the Munich Philharmonic Hall.

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