The complete EMI recordings, augmented by live performances

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CD 1 (78:24) Concerto for Piano & Orchestra, No. 22 in E-flat, K.482 * [13 or 16 November, 1941]; Piano Sonata No. 8 in A minor, K.310  [27 January, 1939]; Concerto for 2 pianos and orchestra in E flat major, K.365 London Symphony Orchestra, cond. Sir Adrian Boult  [28 October,1936]. CD 2: (76:15) Piano Quartet No 1 in G minor K.478 w/ members of the Pro Arte Quartet [19 December, 1934]; Piano Sonata No. 12 in F major, K.332 [5 June 1946 & 5 June, 1947]; Piano Concerto No. 27 in B flat major, K.595 London Symphony Orchestra, cond. John Barbirolli [2 May 1934].CD 3: (76:37) Piano Concerto No 20 in D Minor, K.466 Philharmonia Orchestra, cond. Walter Susskind [17 & 18 June, 1948]; Piano Sonata No. 13 in b flat, K.333 * U.S. Armed Forces Radio Recording [1944/45?]; Piano Concerto No. 19 in F major, K.459 London Symphony Orchestra, cond. Sir Malcolm Sargent [9/12 January, 1937]. CD 4: (72:24) Piano Concerto No. 24 in C minor, K.491 Philharmonia Orchestra, cond. Walter Susskind  [18 & 19 June, 1948]; Piano Sonata No. 16 in B Flat major, K.570 [16 June, 1948]; Piano Concerto No. 23 in A, K.488 * Philharmonic-Symphony Orchestra, cond. A. Rodzinsky  [3 March, 1946]. CD 5: (71:23)  Piano Concerto No. 21 in C major, K.467 London Symphony Orchestra, cond. Sir Malcolm Sargent [12 January, 1937]; Rondo in A minor, K.511 [4 June, 1946]; Sonata in F, K.533/494 *  [14 November, 1943]; From a public performance at the Frick Museum, New York Piano Concerto No. 17 in G, K.453 * (excerpt)  New Friends of Music Orchestra, cond. Fritz Stiedry [22 March, 1942]. *live performance • Restorations: Kit Higginson (2006) • Notes: Farhan Malik • Released under license from EMI Classics.
UPC #0-17685-11932-3  Special: 5 CDs for the price of 4

Buzz:  Artur Schnabel once wrote: “Children are given Mozart because of the small quantity of the notes; grown-ups avoid him because of the great quality of the notes.”  He was one grown-up who did not avoid Mozart. For him, the quality of the notes was the predominating factor in what music he chose to play. Along with Beethoven and Schubert, Schnabel was a tireless advocate of Mozart’s music at a time when Mozart was often maligned and scoffed at by those who considered the music simplistic and unchallenging. This set presents all his celebrated HMV recordings of Mozart’s keyboard works, together with his best public performances, all newly restored, with extensive analytical notes.


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