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Ronald Brautigam, Michael Alexander Willens - Carl Maria von Weber: Complete Works for Piano & Orchestra (2021)

Posted By: ArlegZ
Ronald Brautigam, Michael Alexander Willens - Carl Maria von Weber: Complete Works for Piano & Orchestra (2021)

Ronald Brautigam, Michael Alexander Willens, Kölner Akademie - Carl Maria von Weber: Complete Works for Piano & Orchestra (2021)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 56:18 | Scans included
Classical | Label: BIS Records | # BIS-2384 SACD | Recorded: 2018

Carl Maria von Weber wrote music that has been admired by composers as diverse as Schumann, Berlioz, Tchaikovsky, Debussy, Ravel and Stravinsky. But in his lifetime he was also recognised as one of the finest pianists of the period, with an exceptional technique and a brilliant gift for improvisation. Especially during the 1810s he toured extensively, and like other composer-pianists he wrote works to use as his personal calling cards, among them the two piano concertos recorded here. They were both composed in 1811-12, but while the First Concerto takes Mozart's concertos as its model, Piano Concerto No. 2 looks towards Beethoven.

Ronald Brautigam, Kölner Akademie & Michael Alexander Willens - Weber: Complete Works for Piano and Orchestra (2021)

Posted By: delpotro
Ronald Brautigam, Kölner Akademie & Michael Alexander Willens - Weber: Complete Works for Piano and Orchestra (2021)

Ronald Brautigam, Kölner Akademie & Michael Alexander Willens - Weber: Complete Works for Piano and Orchestra (2021)
WEB FLAC (tracks) - 216 Mb | MP3 CBR 320 kbps - 132 Mb | Digital booklet | 00:55:58
Classical | Label: BIS

Carl Maria von Weber wrote music that has been admired by composers as diverse as Schumann, Berlioz, Tchaikovsky, Debussy, Ravel and Stravinsky. But in his lifetime he was also recognised as one of the finest pianists of the period, with an exceptional technique and a brilliant gift for improvisation.

Ronald Brautigam, Die Kolner Akademie, Michael Alexander Willens - Mozart: Piano Concertos Nos. 18 & 22 (2014)

Posted By: Designol
Ronald Brautigam, Die Kolner Akademie, Michael Alexander Willens - Mozart: Piano Concertos Nos. 18 & 22 (2014)

Wolfgang Amadeus Mozart: Piano Concertos Nos. 18 in B flat major & 22 in E flat major (2014)
Ronald Brautigam, fortepiano; Die Kölner Akademie; Michael Alexander Willens, conductor

EAC | FLAC | Image (Cue&Log) ~ 251 Mb | Mp3 (CBR320) ~ 140 Mb | Scans included
Genre: Classical | Label: BIS | # BIS-SACD-2044 | Time: 01:00:03

The sixth disc in this highly acclaimed series combine two works in which Mozart's powers as an orchestrator come to the fore. Concerto No. 18 in B flat major, K 456, is sometimes referred to as one of the composers military concertos on the basis of the march-like main theme of the first movement. But more striking is the variety of ways that Mozart employs the various groups of instruments: strings, wind instruments and, of course, the piano. This aspect certainly didn't pass unnoticed by a listener as initiated as Mozart's father Leopold: in a letter to his daughter Nannerl he described how his enjoyment of the orchestral interplay had brought tears to his eyes.

Ronald Brautigam, Michael Alexander Willens, Kolner Akademie - Mozart: Piano Concertos Nos. 24 & 25 (2011)

Posted By: ArlegZ
Ronald Brautigam, Michael Alexander Willens, Kolner Akademie - Mozart: Piano Concertos Nos. 24 & 25 (2011)

Ronald Brautigam, Michael Alexander Willens, Kölner Akademie - Mozart: Piano Concertos Nos. 24 & 25 (2011)
EAC | FLAC | Image (Cue & Log) ~ 231 Mb | Total time: 55:29 | Digital booklet
Classical | Label: BIS | # BIS-1894 | Recorded: 2010

Composed in 1786, the Piano Concertos Nos 24 in C minor and 25 in C major are regarded as two of Mozart's finest achievements in the genre. Both are large-scale works, with durations of more than 25 minutes each – the C major concerto is in fact one of the most expansive of all classical piano concertos, rivalling Beethoven’s fifth concerto. Their grandeur immediately made them popular fare in the concert hall – Mendelssohn, for instance, had No.24 in his repertoire through the 1820s and 1830s – and new recordings appear regularly. It is nevertheless relatively rare to hear them performed on original instruments and with orchestral forces corresponding to what Mozart himself would have been familiar with.