Mozart: Piano Concerto No. 6 in B flat major, K238, etc.

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There are not many composers for whom one could programme three concertos in the same key. Nevertheless, Mozart allegedly associated B flat major with happiness and with his fecund genius there... — Gramophone Classical Music Guide, 2010 More…

Release Date: 31st Oct 2005
Catalogue No: 2564622592
Label: Warner Classics
Length: 76 minutes

Warner Classics

Special offer ends: 07/08/2024

Mozart: Piano Concerto No. 6 in B flat major, K238

Work length20:03

$3.00

$3.90

Pierre-Laurent Aimard (piano)
Chamber Orchestra of Europe
Pierre-Laurent Aimard

I Allegro aperto

Track length7:00

$1.00

$1.30

II Andante un poco adagio

Track length5:53

$1.00

$1.30

III Rondeau - Allegro

Track length7:10

$1.00

$1.30

Mozart: Piano Concerto No. 15 in B flat major, K450

Work length25:01

$3.00

$3.90

Pierre-Laurent Aimard (piano)
Chamber Orchestra of Europe
Pierre-Laurent Aimard

I Allegro

Track length11:13

$1.00

$1.30

II Andante

Track length6:02

$1.00

$1.30

III Allegro

Track length7:46

$1.00

$1.30

Mozart: Piano Concerto No. 27 in B flat major, K595

Work length31:41

$3.00

$3.90

Pierre-Laurent Aimard (piano)
Chamber Orchestra of Europe
Pierre-Laurent Aimard

I Allegro

Track length14:31

$1.00

$1.30

II Larghetto

Track length7:49

$1.00

$1.30

III Allegro

Track length9:21

$1.00

$1.30

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Reviews

2010

There are not many composers for whom one could programme three concertos in the same key. Nevertheless, Mozart allegedly associated B flat major with happiness and with his fecund genius there is little risk of boredom.
A modern grand piano can sound heavy in Mozart's earlier concertos but Pierre-Laurent Aimard handles the solo writing in Concerto No 6 (K238), composed in Salzburg in 1776, with graceful agility. No 15 (K450), composed in Vienna in 1784, shows Mozart's increased emotional complexity and sophisticated use of the orchestra. Aimard encourages orchestral interjections to extend organically from the piano solos; the Andante expresses profound yearning in the most civilised manner possible; the last movement bubbles with affection.
In Mozart's last piano concerto, K595, the sunny optimism evident in the other B flat concertos is mingled with melancholic moods in the substantial opening movement (it lasts nearly a quarter of an hour, compared to the seven-minute Allegro aperto which opens K238).
The Chamber Orchestra of Europe produce soft-grained performances in which glossy elegance is favoured over dramatic colour. Wood-wind contributions are gently massaged into the texture and the horns seem a little distant and subdued but the orchestra produce lean textures and tight rhythms. Aimard directs from the keyboard, an authentic approach that has been avoided by some of the finest period-instrument Mozartians. In true Glenn Gould style, you can occasionally hear him humming along, this immersion in the music nurturing an admirable sensation of unity and harmony.

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