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Originally Posted by Polyphonist
Originally Posted by Damon
Originally Posted by Svenno
Rach 3, the mother of all piano concerti.

I'm thinking Bach would probably own that title.

Yeah, but Bach is boring. smokin


Yeah, everything sounds the same. It's like he wrote one gargantuan piece and then chopped it up into little pieces.

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Originally Posted by Sorcerer88

Keyboard concerto. FTFY. Does that change so much? Didn't Mozart write fortepiano concertos? He definitely didn't write for Steinways.

A fortepiano is a piano.

A harpsichord is not a piano.


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Bach D minor keyboard concerto. For me, listening to it I felt that keyboard and strings were really working together instead of against each other... as I often feel during piano concertos.

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Originally Posted by bennevis
Mozart is the father (& mother wink ) of the piano concerto.

No contest. In some respects, no subsequent concertos have ever matched what he gave us, Beethoven certainly knew that.

The passage 19 measures before the cadenza in the K467 has to be one of the most electrifying moments in all of music. The geyser bursts and we're cleaning ourselves up and wondering... did that really happen?





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Originally Posted by argerichfan
Originally Posted by bennevis
Mozart is the father (& mother wink ) of the piano concerto.

No contest. In some respects, no subsequent concertos have ever matched what he gave us, Beethoven certainly knew that.

The passage 19 measures before the cadenza in the K467 has to be one of the most electrifying moments in all of music. The geyser bursts and we're cleaning ourselves up and wondering... did that really happen?




Can someone link a recording of this moment?

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Originally Posted by JoelW
Originally Posted by argerichfan
...The passage 19 measures before the cadenza in the K467...

Can someone link a recording of this moment?

How about you find the passage 19 measures before the cadenza in K467?


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I already tried that and didn't hear anything very electrifying.

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Originally Posted by JoelW
I already tried that and didn't hear anything very electrifying.

I looked it up and was confused as well.

He also didn't specify what movement he meant.


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Originally Posted by Polyphonist

He also didn't specify what movement he meant.

Well that would be the first movement. That is when Mozart gives the go ahead. Does he do that in any of the other movements in his concertos?

Thought that was too obvious, but whatever...


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Originally Posted by bennevis
Mozart is the father (& mother wink ) of the piano concerto.

Bach (J.S. or PDQ) never wrote any.......


J.C.

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Originally Posted by Damon

J.C.

Care to elaborate on that Damon?


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Originally Posted by argerichfan
Originally Posted by Polyphonist

He also didn't specify what movement he meant.

Well that would be the first movement. That is when Mozart gives the go ahead. Does he do that in any of the other movements in his concertos?

Thought that was too obvious, but whatever...

There's a cadenza in the third movement as well.


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Originally Posted by argerichfan
Originally Posted by Damon

J.C.

Care to elaborate on that Damon?


He think he means Johann Christian Bach instead of Johann Sebastian.


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Originally Posted by Vid
Originally Posted by argerichfan
Originally Posted by Damon

J.C.

Care to elaborate on that Damon?


He think he means Johann Christian Bach instead of Johann Sebastian.


I did, but it looks like Mozart may have beat him out also by a couple of years. I originally did mean J.S in my first post but then realized the objection that he may never have written one specifically for the piano. J.C. did. Never mind. smile

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Originally Posted by argerichfan
Originally Posted by bennevis
Mozart is the father (& mother wink ) of the piano concerto.

No contest. In some respects, no subsequent concertos have ever matched what he gave us, Beethoven certainly knew that.

The passage 19 measures before the cadenza in the K467 has to be one of the most electrifying moments in all of music. The geyser bursts and we're cleaning ourselves up and wondering... did that really happen?





I played k467 in a music festival once and crashed and burned on exactly those measures. My teacher forced me to write a cadenza and I was playing for Ioudenitch so was nervous, and all I could think about during those measures was my crappy cadenza. Which of course meant I wasn't thinking about those measures. Oops.

That being said, I absolutely love that concerto. I was comfortable enough with it to be moved by it while playing it, which is a really nice experience.

As for my favorite concerto, who knows. I guess I don't really have favorite concertos, but rather favorite performances. Right now I can't stop listening to Stephen Hough's Brahms 1.

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Chopin 1
Chopin 2
Brahms 1
Rach 3
Mozart 20

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Originally Posted by computerpro3

As for my favorite concerto, who knows. I guess I don't really have favorite concertos, but rather favorite performances. Right now I can't stop listening to Stephen Hough's Brahms 1.

Haven't heard Hough, must give it a listen, currently my favourite Brahms 1 is Andsnes. As a teen I was completely transfixed by Katchen's recording, but now it seems a bit too feverish and impatient.

Must say, however, that Katchen's similar approach to Rachmaninov 2 pays huge dividends. Want to introduce a friend to the kinetic sexual excitement of Rachmaninov 2? Then play them Kathchen, and when they 'mature' a bit, go for Richter. wink

You could start a topic on favourite performances, probably more revealing than just listing works.

For example, I have possibly heard all the available recordings of the Busoni, but IMO none match that pioneering studio recording by the great John Ogdon.


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Originally Posted by Svenno
Rach 3, the mother of all piano concerti.


I didn't know he had undergone a sex change.


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Originally Posted by Frankni
Originally Posted by Svenno
Rach 3, the mother of all piano concerti.


I didn't know he had undergone a sex change.

laugh , you are funny!



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You know, I'm still very partial to the Bach d minor. Easy to play, great ensemble, something interesting for every part to do, lovely solos, and an amazing slow movement.

And it beats out all the others as "the mother of all concertos" you folks mention by sheer longevity.

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