Mozart: Piano Concerto No. 27 / Lewis · Haitink · Berliner Philharmoniker

Full-length concert: www.digitalconcerthall.com/con...
W. A. Mozart: Piano Concerto No. 27 in B flat major K. 595 (2nd movt) / Paul Lewis, pianio · Bernard Haitink, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 11 May 2019
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[@hugo54758]

Merci beaucoup

[@user-ze3nc5wx2e]

Thank you for uploading.Why is their music so beautiful?

[@JaySuryavanshiMusic]

Long live Haitink!

[@mariainesandradealcantara9979]

Amo MOZART! ❤❤❤❤❤❤❤❤❤❤❤

[@davidschestenger7350]

Magic, intelectual, fantastic

[@terrycreagh4103]

Music for the soul.

[@GreenTeaViewer]

with time this Haitink chap may develop his talent. Very promising!

[@kumakumakuma4572]

It’s so sorry that Maestro Haitink will retire this September...

[@dougfl9254]

I do not like when the soloists play different from the score. It seems to me that they are trying to help the composer. This concert is beautiful because of the few musical notes and the simplicity, as Mozart wanted it to be.

[@dougfl9254]

@World Of Faraz YT Ornaments characterize the baroque and are the main characteristic of classism. Another difference between these two styles is that in Classism there was a time for soloists to expose their full creative potential. This particular concert should be simple, in addition to the reason cited, because it was composed in a mature phase of Mozart, where ornaments certainly no longer wanted by Mozart.

[@PUCCINIMUSICK]

@@dougfl9254 extremely wise remark. Abbellimenti (ornaments) are useless in late Mozart and especially in THIS concerto which remains PURE ABSOLUTE MUSIC. Furthemore, but this is a totally personal choice, I find the tempo too straight and quick, no time to breath and think, reflect upon the beauty and sadness of this incredible Music.

[@dougfl9254]

@@PUCCINIMUSICK Exactly. I found, in my opinion, that the accelerated tempo and the excess of "flourishes" (ornaments) took away the melancholy character of the concert. There is a difference between the spectacle of music and music as a spectacle, and in this concert, the music itself, pure and simple as it was composed, is the spectacle.