Mozart's piano concertos span the whole of his creative life and are viewed by many as the highpoint of his instrumental achievement. Their wide diversity of approaches and emphases show Mozart's remarkable fecundity and his ability to match the style of his musical material to the scale of the work, or to the performing means at hand.

Mozart's Concerto in E-flat, K. 482, was one of three concertos intended for a series of Lenten subscription concerts given in Vienna in 1786. While its companion works K. 488 and K. 491 were not completed until March, the E-flat Concerto received its premiere at a concert aiding the pension fund of the Viennese Tonkünstler-Societät on December 23, 1785. The main attraction on this occasion was Dittersdorf's oratorio Esther, and Mozart was relegated to performing his Concerto in the break between the two halves of the oratorio.

The E-flat Concerto stems from a busy creative period. It is contemporaneous with the opera buffa Le nozze di Figaro, and operatic gestures and emotional extremes are absorbed into the instrumental writing, particularly in the slow movement. This E-flat Concerto was the first of Mozart's piano concertos to include the clarinet, and the breadth of the orchestral sonority is further enhanced by the inclusion of trumpets and drums. [...]

The Concerto in D, K. 537, is Mozart's penultimate concerto for piano. He completed it in 1788 and played it in Frankfurt in October 1790, at the time of the coronation festivities for Leopold II. The manuscript seems to have been written out somewhat in haste, and the left-hand piano part is largely missing, probably because the composer himself was to be the soloist. In addition, the woodwinds, trumpets and drums were not conceived as an integral part of the work but were an "ad libitum" augmentation. The version of the concerto known today is that of the first edition, published in 1794 by Johann André, who was also responsible for the epithet "Coronation."

The D Major Concerto displays a musical straightforwardness that is set in relief by complexity of its immediate predecessors, the six masterworks written between 1785 and 1786. Its limpid grace and untroubled clarity, while not deeply moving, are nevertheless highly polished and musically convincing. The concerto is conceived on a grand scale, the dramatic gestures of the previous several concertos being replaced by material that lends itself to brilliant rather than introspective pianistic effects. [...]

Elizabeth A. Wright

The essence of Romanticism in music, which also represents a nucleous of a general Romantic outlook and attitude, the Romantic creative imagination, and the characteristically open style of the Romantic narrative and structural form, can be found in these concertos, in particular the more expansive and representational, reveal a certain 'restlessness of heart', a feeling of anxiety and an emotional dynamism inherent to the music of the times; as well as a dualistic manner in which the composers of the Romantic age perceived the music: on the one hand strongly self-sufficient in matters od form and expression, on the other deficient in a purist sense. Consequently 'on a par' with other art forms, the concerto repertory strives to be poetic, picturesque and theatrical; a if yearning to be a narrative discussion, dialogue or a dramatic, lyrical as well as humorous theatrical scene, while simultaneously retainin its character of 'display' virtuosity. Against a background of the numerous lesser works of the concerto genre which formed the staple 'musical diet' of 19th century audiences, a few Piano Concertos stand out as masterpieces, that for the last century and a half have regularly attracted successive generations of performers and have maintained their status, in the concertos by Chopin, the one by Schumann, the two by Liszt, the two by Brahms, the one by Tchaikovsky and to a certain extent the early 20th Century concertos of Rachmaninov. Moreover, Romanticism seen in the concerto repertory emerged from an already rich tradition, namely the concertos of Mozart, and found a suitably fertile soil for propagation in the 'brillante' style of early 19th Century popular music.

The principal characteristic of the Romantic concerto in the full bloom of its stylistic expression, is the creative interpretation of the performance. All Romantic concertos - from Chopin and Schumann to Liszt, Brahms, Tchaikovsky and Rachmaninov - are written with a somewhat theatrical intention and the role of the performer in mind. They are composed for outstanding artists and towering personalities capable of breathing life into the music and realising every detail of the vast armony of expression typical of the genre though in keeping, wills the composers intentions, the soloist-pianist, conductor and orchestral musicians are each assigned a part to play that is revealed in the score and detailed in the notation, enabling each to fully enact the musical drama of a concert performance. As pointled observed by Harnoncourt, the notational format of the 19th Century is not only to provide a guide to the structure, scheme and form of a composition, but above all to serve the musician in his performance of the work. Like the script of theatrical play, the score of a Romantic concerto contains a list of characters and instructions. However, one of the paradoxes and dialectic questions of Romantic music is that, the more articulate and detailed the notation in the score of the cocnerto, the more inspired is the creative role of the performer. Perhaps this occurs because the Romantic music of 19th Century is to large extent underpinned by the spirit of improvisation (musical and poetic) which played such a significant role in the culture of the period; and in considering the general perception of music in the Romantic age, two equally prominent tendencies interact and vie with each other. On the one hand - a predilection for structural form and its diversity of stylistic expression, and on the other - a longing for freedom from formal restraint and a yearning for spontaneity. Piano and poetry, the force of music and the power of spoken verse - are two paramount features of Romantic improvisation. ...

Bohdan Pociej

Translated by Anna Kasprzyk

The work is incomplete, missing all of the Credo following the aria "Et incarnatus est" (the orchestration of the Credo is also incomplete) and all of the Agnus Dei. The Sanctus is partially lost and requires editorial reconstruction. There is a good deal of speculation concerning why the work was left unfinished. Given the absolute necessity of a complete text for liturgical use, it is likely that Mozart spliced in movements from his earlier Masses for the premiere. For purposes of modern performances, the editions and completions available are those by H. C. Robbins Landon (Eulenburg), Helmut Eder (Bärenreiter), Richard Maunder (Oxford University Press), Philip Wilby (Novello) and Robert Levin (Carus Verlag).

From Wikipedia (edited)

Mozart

Grande Messe en Ut mineur, K. 427 (K6 417a)

Krisztina Láki, Zsuzsanna Dénes, soprano
Kurt Equiluz, tenor
Robert Holl, bass

Konzertvereinigung Wiener Staatsopernchor

Exsultate, jubilate K. 165 (K6 158a)

Barbara Bonney, soprano

Concentus Musicus Wien
Nikolaus Harnoncourt


Quality: mp3, varied kbps
Size: 137 MB

Lipatti's playing was hailed as having reached the highest degrees in integrity and pianistic technique — which he employed in the quest for musical perfection.

Lipatti is particularly noted for his interpretations of Frédéric Chopin, Wolfgang Amadeus Mozart and Johann Sebastian Bach, but he also made recordings of Maurice Ravel's Alborada del Gracioso, Franz Liszt, George Enescu, the Schumann Piano Concerto, and Grieg Piano Concerto. His recording of Chopin's Waltzes has remained in print since its release and has long been a favorite of many classical music-lovers.

Lipatti never recorded any music of Beethoven. It is a common misconception, however, that Lipatti did not perform Beethoven's music until late in his career. In fact, Lipatti had performed the Emperor Concerto in Bucharest twice during the 1940-41 season, and even stood ready to record it for EMI in 1949. Thus, an internal memo from Lipatti's recording producer, Walter Legge, dated February 23, 1948 states that "Lipatti ha[d] his heart set on doing a Beethoven Concerto in 1949" and nominates the Emperor Concerto given that Lipatti had already performed it. Similarly, Beethoven's Waldstein Sonata had been a fixture of Lipatti's repertoire since 1935. [...]

The power, beauty and sincerity of his recordings continue to inspire and uplift pianists and music lovers worldwide. In addition to his pianistic accomplishments, Lipatti was a composer, who wrote in a neoclassical style with French and Romanian influences. He was posthumously made a member of the Romanian Academy in 1997. ...

From Wikipedia

Schumann, Mozart

Piano Concertos

Piano Concerto in A minor

Piano Concerto nr. 21, in C

Dinu Lipatti, piano

Philharmonia Orchestra

Orchestre du Festival de Lucerne

Herbert von Karajan, conductor

Quality: mp3, 192 kbps

Size: 80 MB

Mozart

The Complete Piano Concertos

Disc 8 of 10

Concerto nr. 20, in D minor, K. 466
Concerto nr. 24, in C minor, K. 491

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, varied kbps
Size: 100 MB

Vienna, 16 February 1785

On Friday evening we drove to his first subscription concert, at wich a great many members of the aristocracy were present. ... The concert was magnificent and the orchestra played splendidly. In addiction to the symphonies a female singer of the Italian theatre sang two arias. Then we had a new and very fine concerto [K. 466] by Wolfgang, wich the copyist was still copying when we arrived, and the rondo os which your brother did not even have time to play through, as he had to supervise the copying. ... On Saturday evening Herr Joseph Haydn and the two Barons Tinti came to see us... Haydn said to me: "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition."

Mozart

The Complete Piano Concertos

Disc 7 of 10

Concerto nr. 18, in B flat major, K. 456
Concerto nr. 19, in F major, K. 459

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, varied kbps
Size: 90 MB

Mozart

The Complete Piano Concertos

Disc 6 of 10

Concerto nr. 17, in G major, K. 453
Concerto nr. 26, in D major, K. 537 "Coronation"

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, varied kbps
Size: 93 MB

Mozart

The Complete Piano Concertos

Disc 5 of 10

Contents:
Concerto nr. 14, in E flat major, K. 449
Concerto nr. 15, in B flat major, K. 450
Concerto nr. 16, in D major, K. 451

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, 160 kbps
Size: 86 MB

The Complete Piano Concertos

Disc 4 of 10

Contents:
Concerto nr. 11, in F major, K. 413
Concerto nr. 12, in A major, K. 414
Concerto nr. 13, in C major, K. 415

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, 160 kbps
Size: 87 MB

Margaret Price, soprano
Trudeliese Schmidt, mezzo-soprano
Francisco Araiza, tenor
Theo Adam, basso

Rundfunkchor Leipzig
Staatskapelle Dresden

Peter Schreier

DL Mozart Requiem

Quality: mp3, 192 kbps
Size: 70 MB

The Piano Sonatas, Fantasias & Rondos

5 DISCS BOX

Alicia de Larrocha

Disc 4 of 5

Piano Sonatas KV 279, 280, 457 -
Fantasias KV 475, 397 - Rondo KV 485

DL Mozart Sonatas

Quality: mp3, 192 kbps
Size: 100 MB

The Piano Sonatas, Fantasias & Rondos

5 DISCS BOX

Alicia de Larrocha

Disc 3 of 5

Piano Sonatas KV 309, 310, 311, 330

DL Mozart Sonatas

Quality: mp3, 192 kbps
Size: 94 MB

The Complete Piano Concertos

Disc 3 of 10
Contents:
Concerto nr. 9, in E flat major, k. 271 "Jeunnehomme"
Concerto nr. 25, in C major, K. 503
Concert Rondo nr. 1, in D major, K. 382

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos
Part 1
Part 2

Quality: mp3, 192 kbps
Size: 49 MB + 54 MB

Mozart

The Complete Piano Concertos

Disc 2 of 10

Contents:
Concerto nr. 5, in D major, K. 175
Concerto nr. 6, in B flat major, K. 238
Concerto nr. 8, in C major, K. 246 "Lützow"

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, 192 kbps
Size: 95 MB

The Complete Piano Concertos

Disc 1 of 10

Contents:
Concerto nr. 1, in F major, K. 37
Concerto nr. 2, in B flat major, K. 39
Concerto nr. 3, in D major, K. 40
Concerto nr. 4, in G major, K. 41

English Chamber Orchestra,
Daniel Barenboim, piano & conductor

DL Mozart Concertos

Quality: mp3, 192 kbps
Size: 79 MB

Debussy & Mozart

Songs (Mélodies & Lieder)

Juliane Banse, sopran
András Schiff, piano


DL Debussy & Mozart songs

Quality: mp3, 192 kbps
Size: 87 MB

Quality: mp3, 192 kbps

Size: 105 MB