"Piano Concertos Nos.11, 12, 13 : Bacchetti(P)Goldstein / Padova e del Veneto Orchestra"

Wolfgang Amadeus Mozart: Piano Concertos K413 - K414 - K415

Piano Concerto No. 11 in F major, K413
Piano Concerto No. 12 in A major, K414
Piano Concerto No. 13 in C major, K415

Andrea Bacchetti, piano
Orchestra of Padova and Veneto / Carlo Goldstein, conductor

Recorded: 07/2010

Three Mozart Piano Concertos performed by the acclaimed Italian pianist Andrea Bacchetti. The Orchestra di Padova e del Veneto is currently one of the most renowned chamber orchestras in Italy and Carlo Goldstein is an emerging conductor on the Italian music scene.

Previous Andrea Bacchetti recordings have been met with critical acclaim: 'He is a clear and elegant pianist, with crisp, immaculate fingerwork' said International Record Review on CDS659. 'Andrea Bacchetti's latest recording…is one of the most wonderful things I have ever heard' said BBC Music Magazine on CDS659.

Formed in 1966, the Orchestra di Padova e del Veneto is currently one of the most renowned chamber orchestras in Italy. In its long history, the orchestra has collaborated with the most prestigious international artists, such as Martha Argerich, V.Ashkenazy, R.Buchbinder, Anne-Sophie Mutter, M.Perahia, I.Perlman, Svjatoslav Richter, M.Rostropovich and K.Zimerman.
Born in Trieste, Carlo Goldstein is one of the emerging conductors of the Italian music scene.

Mozart composed these 3 concerts between the summer of 1782 and the beginning of 1783 for his own use, in view of the public performances he was going to give in Vienna in the winter of that year, where he would be warmly applauded both as a soloist and a composer. In a famous letter to his father dated 28th December 1782, Mozart describes the creative criteria behind them, declaring that the three concerti were exactly in between being too difficult and too easy; that they were bright, pleasant, natural but not too plain, with passages where only the experts would find pleasure but conceived, in any case, in such a way that even the inexperienced would be happy, even without knowing why.
Indeed, the wonderful balance between difficult and easy, the original language and marked uniqueness of thematic invention, in addition to the leanest essentiality of construction and form, make of these concerti some of the most successful compositions of those early Vienna days.