DISCOGRAPHY

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10/10 Télérama


Customer Review by Virginia Opera Fan (Falls Church, VA USA) on Amazon.co.uk

Immerseel's performances on a sweet-toned fortepiano are technically polished, well inflected and have all sorts of nicely turned improvisation-like touches. He also plays continuo in the tuttis. The period instrument orchestra acquits itself well. The tension between the fortepiano, wind band, and strings is much easier to put across with period instruments. The acoustic is intimate but lively and very nicely recorded.


Customer Review by Larry VanDeSande on Amazon.co.uk

"Anima Eterna plays and responds wonderfully for the maestro-soloist in this set. The period strings don't have the luster of modern steel strings but they play well and don't sound like iron on iron. Meanwhile, the woodwinds, brass and timpani all perform admirably and they capture every nuance Mozart put into these scores. This set is a keeper for anyone that wants to hear Mozart played on instruments and in sound that may have mimicked what it was like in his day. I've heard a few of the competing period performances in Mozart and none impressed me like Immerseel and Anime Eterna. If you put this set on your shelf next to Buchbinder's grand piano box with Vienna Symphony, you are equipped well enough in this repertoire to outlast most competition for the next quarter-century."


Customer Review by 'Delicious' on Amazon.co.uk

"Immerseel's orchestra is top-notch; his playing is full of nuance and character, the recorded sound is to die for, consistency from Concerto to Concerto is first-rate. This is a truly outstanding piece of work. I'd buy it before it goes out of print...as a matter of fact, I better get on that."


In the early years, van Immerseel’s orchestra became widely known for its historical performance practice: the study of scores with an eye to textual reassessment and the use of original instruments in historically correct orchestration. This was music for connoisseurs who appreciated being offered new access to a repertoire they thought they were already familiar with. The fact that this audience has continued to grow over the past 25 years is not only thanks to the scientific rigour with which each project is approached, and the skill of the musicians and their director, but ultimately to what they produce: the music. Music full of life and surprises, during live performances and in the recordings. Enthusiastic praise from music-lovers has led to packed concert halls, award-winning releases and worldwide recognition.

W.A. Mozart

Complete Solo Clavier-Concerte
CSS BOX 10 | 10 CDs | published 1990 | buy this cd

 

 

tracklist

 

CD 1 (CSS 0590)
Clavier-Concert 5 KV 175 in D
1. Allegro 8:20
2. Andante ma un poco Adagio 7:00
3. Allegro 4:42
Clavier-Concert 9 KV 271 in Es
4. Allegro
5. Andantino 12:09
6. Rondeau Presto Menuetto -Tempo Primo 10:03

 

CD 2 (CSS 0690)
Clavier-Conert 8 KV 246 in C
1.Allegro Aperto 7:40
2. Andante 7:32
3. Rondeau Tempo di Menuetto 6:57
Clavier-Concert 28 KV 382 in D Rondo
4. Allegretto Grazioso Adagio – Allegro 9:07
Clavier-Concert 12 KV 414 in A
5. Allegro 9:28
6. ANdante 8:15
7. Allegretto 6:44

 

CD 3 (CSS 0990)
Clavier-Concert 11 KV 413 in F
1. Allegro 9:37
2. Larghetto 7:37
3. Tempo di Menuetto 5:23
Clavier-Concert 13 KV 415 in C
4. Allegro poco maestoso 10:33
5. Andante 7:17
6. Allegro Scherzando 7:48
Clavier-Concert 14 KV 449 in Es
7. Allegro vivace 8:56
8. Andantino 6:40
9. Allegro ma non troppo 6:16

 

CD 4 (CSS 1791)
Clavier Concert 15 KV 450 in B flat
1. Allegro 10:02
2. Andante 5:39
3. Allegro 8:56
Clavier-Concert 16 KV 451 in D
4. Allegro assai 10:43
5. Andante 7:10
6. Rondo, Allegro di molto 7:48

 

CD 5 (CSS 1891)
Clavier-Concert 6 KV 238 in B flat
1.Allegro aperto 6:49
2. Andante un poco Adagio 5:52
3. Allegro Rondo 7:12
Clavier-Concert 17 KV 453 in G
4.Allegro 12:09
5. Andante 10:00
6. Allegretto 7:51

 

CONCERTO 6 B flat Major KV 238

Composed: Salzburg, January 1776

Mozart is 20 years old.

1777, 6 October, Munich
“then I played the Concerto in C, in B flat, and in E flat, and then my trio”.

1777, 24 October, Augsburg
“The concerto for 3 claviers: Herr Demmler played the first part, I: the second, and Herr Stein the third. Then I played alone, the last sonata in D [which I wrote] for Drnitz : then my concerto in B flat…”

1793 First posthumous publication, Andr, Offenbach.

CONCERTO 17 G major KV 453

Composed: Vienna, before 12 April 1784

Mozart is 28 years old.

1784, 26 May, Vienna
“The concerto which Herr Richter praised so much is the one in B flat, which is the first one which I wrote and for which he had already given me so many compliments. I can’t really choose between these two concerti–I think both of them will make the player sweat a bit–but the one in B flat is greater in difficulty than the one in D.–Moreover I am very eager [to know] which, among the 3 concerti in B flat, D and G, pleased you and my sister the most. The one in E flat does not belong at all to the same group.–It is a very special sort of concerto, and written more for a small than for a large orchestra–thus I am referring only to the 3 larger concerti. I am eager to know if her opinion is the same as mine and that of people in general. Obviously it is necessary to hear these concerti in a good performance and with all the orchestral parts. I am more than willing to wait until I get them back again–just make sure that no one else gets his hands on them. Just today I could have had 24 Ducats for one of them–but I think it would be of more use to me if I keep it to myself for a couple of years, and only then publicize it by having it engraved.”

1787 first (?) publication Heinrich Ph. C. Bossler, Speyer.

 

CD 6 (CSS 1991)
Clavier-Concert 18 KV 456 in B flat
1. Allegro vivace 12:09
2. Andante un poco Sostenuto 9:49
3. Allegro vivace 7:41
Clavier-Concert 19 KV 459 in F
4. Allegro 12:30
5. Allegretto 6:09
6. Allegro assai 8:07

 

CD 7 (CSS 2391)
Clavier Concert 20 KV 466 in d minor
1. Allegro 13:08
2. Romanze 9:00
3. Allegro Assai 6:45
Clavier-Concert 21 KV 467 in C
4. Allegro Maestoso 13:41
5. Andante 6:13
6. Allegro Vivace 6:40

 

Concerto 20 d minor KV 466

Completed: Vienna, 10 February 1785

Mozart is 29 years old.

1785, 16 February,
“Leopold to Nannerl … on that Friday (10 II 85) in the evening, we went out to his first subscription concert, where there was a great crowd of personages of high degree. Every person pays a Souvrin d’or or 3 Ducats for the 6 Lenten concerts. It is at the Mehlgrube, he [Mozart] pays only a half Souvrin d’or for each time he uses the hall. The concerto was incomparable, the orchestra excellent, in addition to the symphonies a woman from the theatre sang 2 arias. Then there was a new, excellent concerto by Wolfgang which the copyist was still finishing when we arrived, and your brother didn’t even have time to play through the Rondeau, because he had to supervise the copying….”

 

CD 8 (CSS 2491)
Clavier-Concert 22 KV 482 in E flat
1. Allegro 12:48
2. Andante 9:15
3. Allegro 12:01
Clavier-Concert 23 KV 488 in A
4. Allegro 10:26
5. Andante 5:45
6. Presto 7:55

 

Concerto 22 E flat major KV 482

Completed: Vienna, 16 December 1785

Mozart is 29 years old.

1786, 13 January, letter Leopold
“…in haste, gave 3 Subscription academies [concerts] for 120 subscribers;- …a new Clavier concerto in E flat which he wrote for the occasion, and the Andante of which he had to repeat (a rather uncommon thing for him) 1800/01 First posthumous publication, Andr, Offenbach. Concerto 23 A major KV 488 Completed: 2 March 1786 Mozart is 30 years old 1786, 30 September, Mozart to Kammerdiener Sebastian Winter (Hof Donaueschingen) Tomorrow the music you requested will leave here with the post coach;…it its nothing strange that a few of my pieces have been sent abroad–but they are pieces which I wrote quite casually, and I sent you the themes, only because it was still possible that the pieces had not arrived. But the pieces which I reserve for myself or for a small circle of amateurs and connoisseurs (in return for their promise not to let them out of their possession) cannot possibly be known abroad, because they are not even known here;–such is the case with the 3 concerti which I have the honor to send to Your Lordship…there are 2 clarinets in the Concerto in A–should they not be available at your Court, then a suitable copyist should transpose them into the right key so that the first part can be played by a violin and the second with a viola….”

1800/01 First posthumous publication, Andr, Offenbach.

 

CD 9 (CSS 2591)
Clavier-Concert 24 KV 491 in c minor
1. Allegro 13:41
2. Larghetto 7:09
3. Allegretto 9:11
Clavier-Concert 25 KV 503 in C
4. Allegro Maestroso 14:18
5. Andante 7:07
6. Allegretto 8:56

 

Concerto 24 c minor KV 491

Completed: 24 March 1786

Mozart is 30 years old.

Not mentioned in the correspondence (Von Nissen’s information is incorrect: c minor must be E flat major). The following text may provide an explanation for the silence: “(Mozart) is indisputably one of the greatest of original geniuses, and up until now I have known no other composer who possesses such an amazingly rich imagination. I would only wish that he were not so wasteful with it. He doesn’t give the listener time to catch his breath; for when one wants a moment to think about some beautiful idea, there is already another beauty there before one which obscures the first, and it always goes on that way without pause, so that at the end one cannot keep one of these beauties in one’s memory.” (Karl Ditters von Dittersdorf)

 

 

CD 10 (CSS 2691)
Clavier-Concert 26 KV 537 in D
1. Allegro 13:51
2. Larghetto 5:31
3. Allegretto 9:49
Clavier-Concert 27 KV 595 in B flat
4. Allegro 14:11
5. Larghetto 7:43
6. Allegro 8:34

 

Concerto 26 D major KV 537 “Krönungskonzert”

Completed 24 February 1788 according to Mozart’s “Verzeichnss”

Mozart is 32 years old.

The work was probably truly completed just in time for the first performance on 14 April 1789 in Dresden (if it were actually completed at that time).

1789, 16 April, Dresden, “the other day I played the new concerto in D at Court.”

1790, 8 October, Frankfurt am Main: “…and then, it’s just empty talk about the Imperial Cities.–I am certainly famous, admired, and popular here; for the rest people here are even meaner with money than they are in Vienna.–If the concert here is reasonably successful, then is it thanks to my name, or that of the Countess Hatzfeldt and the House of Schweitzer, who have enthusiastically taken my part?–for the rest I will be very happy when it’s all over.”

 

 

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