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From the youthful Concerto no.6 (1776) to the almost testamentary Concerto no.25 (1786), Mozart's style underwent considerable evolution. In ten years, the young prodigy gave way to a master fully aware that he was opening up new horizons for the genre. With this fourth album in their series, Kristian Bezuidenhout and the Freiburger Barockorchester continue their exploration of a corpus visited so many times before; but with them, we have the impression we are rediscovering each note as if it were 'the first time'.
From the youthful Concerto no.6 (1776) to the almost testamentary Concerto no.25 (1786), Mozart's style underwent considerable evolution. In ten years, the young prodigy gave way to a master fully aware that he was opening up new horizons for the genre. With this fourth album in their series, Kristian Bezuidenhout and the Freiburger Barockorchester continue their exploration of a corpus visited so many times before; but with them, we have the impression we are rediscovering each note as if it were 'the first time'.
3149020947272
Mozart: Piano Concertos K. 238 & 503
Artist: Freiburger Barockorchester
Format: CD
New: Available $23.98
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Formats and Editions

DISC: 1

1. Mozart: Piano Concerto No.6 in B-Flat Major, K. 238: I. Allegro Aperto
2. Mozart: Piano Concerto No.6 in B-Flat Major, K. 238: II. Andante Un Poco Adagio
3. Mozart: Piano Concerto No.6 in B-Flat Major, K. 238: III. Rondeau. Allegro
4. Mozart: Piano Concerto No.25 in C Major, K. 503: I. Allegro Maestoso
5. Mozart: Piano Concerto No.25 in C Major, K. 503: II. Andante
6. Mozart:Piano Concerto No.25 in C Major, K. 503: III. Allegretto

More Info:

From the youthful Concerto no.6 (1776) to the almost testamentary Concerto no.25 (1786), Mozart's style underwent considerable evolution. In ten years, the young prodigy gave way to a master fully aware that he was opening up new horizons for the genre. With this fourth album in their series, Kristian Bezuidenhout and the Freiburger Barockorchester continue their exploration of a corpus visited so many times before; but with them, we have the impression we are rediscovering each note as if it were 'the first time'.
        
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