Mozart: piano concerto no. 21 in C major, K 467. Bilson, Gardiner, English Baroque Soloists

W. A. Mozart: piano concerto no. 21 in C major, K 467. Malcolm Bilson - fortepiano, John Eliot Gardiner - conductor, and English Baroque Soloists, on period instruments
1. Allegro maestoso - 00:00
2. Andante - 14:12
3. Allegro vivace assai - 20:24
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[@BenMader10309]

This youtube channel is a god send.

[@waynesmith6784]

Easy to like with such a virtuoso with such an orchestra so well-conducted. Mozart lives in these artists.

[@kyleethekelt]

What I'm particularly enjoying is hearing the famous second movement how it's supposed to sound: light and pretty, not overblown (for elevator and supermarket) as modern instruments render it.

[@DavidNursal2012]

I am getting to like the sound of the fortepiano and these Bilson/Gardiner recordings are excellent

[@johnmonkus4600]

The overall effect is absolutely wonderful, but I have learned to not listen to the solo woodwinds too closely. Pitch is low, and can be disturbing.

[@kentrosaurusboi3909]

@@johnmonkus4600 I personally like the solo woodwinds and woodwinds in general on period instruments, it offers me a more real and earthy 3-dimensional view of the music in a way, unlike modern instruments which show it as flat and traditional Mozart, which is hard to see on these period recordings

[@chrisquick7854]

All of these recordings are wonderful. Just finished listening to Mozart's Piano Concerto 11. Wonderfully done. Naturally, the 15, 17, 18, 19, 20, 21, 22, 23, 24 & 25 are all great as well. They say that to torture some bad people they will play loud modern music to drive a person insane. If they played Mozart, nobody would complain.

[@johnmonkus4600]

These recordings are my all time favorite CD's.

[@liammartin2089]

Great video! That hippo is nightmare fuel though...

[@CostasCourtComposer]

For me this is the best recording of this concerto

[@flayuhat]

I. Allegro maestoso 0:01 II. Andante ("Elvira Madigan") 14:11 III. Allegro vivace assai 20:24

[@ElAnalista]

4:41

[@faivishbelchstein2853]

another fantastic performance

[@user-dd4sj8tf3h]

Можно просто слушать бессмертного Моцарта без всяких комментариев и лечить душу

[@user-po6ft6mk4d]

First of all we thank the media provider. I am fortunate. I am listening to the wonderful music of Gardiner. I am very happy to live in the same era as Gardiner, I am grateful to Gardiner. I also thank the music producer who introduced Gardiner. I hope they will succeed further. May 17, 2018まず、メディアプロバイダーに感謝します。 私は幸運です。 私はガーディナーのすばらしい音楽を聴いています。 私はガーディナーと同じ時代に生きてとてもうれしく、ガーディナーに感謝しています。 ガードナーを紹介した音楽プロデューサーにも感謝します。 彼らがさらに成功することを願っています。 2018年5月17日

[@thricegreatart]

Beyond thanking Gardiner, thank Mozart!

[@veronicaeasterbrook7698]

And thank all those talented musicians who fade into anonymity as part of an orchestra but each is an expert who trained for many hours to create this miracle. But yes! Thank you Mozart

[@Shine-kg9vk]

15:00

[@user-il1vr9lu9e]

30年前あたりに発売されていた。フォルテピアノを使用した協奏曲ですね。 壁紙を変えて聴くと、ニュアンスが違う様になります。

[@novatogaimers551rueda7]

Hermoso me llena de recuerdos

[@tatianagelfeld]

Thanks!

[@stravinskky]

제가 가장 좋아하는 피아니스트 손열음이 이분의 카덴차를 인용했나보네요!

[@jfernandoom4119]

Mozart andaluz 7:20

[@husseinabboud1137]

The art work picture for who

[@Muzikay]

Rubens, _Hippopotamus and Crocodile Hunt_ (1616)

[@Indo49]

Just to say: great. Level 10 on the amplifier. No neighbours around here.

[@alistairkewish651]

Just as well, then.

[@kentrosaurusboi3909]

And this comment is complete idiocy

[@seanmchugh840]

Bilson with his daft constricted and rapid decay early piano or half-harpsichord that Mozart was struggling against is hardly to be considered- this becomes a harpsichord concerto with a single staccato expressive inflection for all notes. A few minutes in and it’s obviously silly and inappropriate for the music’s demands, making this inevitably plain, monochrome and routine because Bilson’s options are so curtailed. Sounds like he could be a fine baroque harpsichordist with metrical regularity and speedy clear counterpoint while Gardiner’s outer movs are fine but the slow mov surprisingly is too slow, making it the more boring. To record all the cycle of concertos here shows gross artistic misjudgement from all concerned. Obviously when a composer writes the word _piano_ on a score they’re writing for an ideal abstract piano and not whatever restrictive crumbly thing they might be burdened with at the time- and Mozart’s ravishing melodic writing is particularly designed for the modern piano’s rich tonal production.