"Barenboim continues to favour a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas…John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus…but he does at all times create a lively personality, a force to be reckoned with…" (Gramophone)
In the early 1990s Daniel Barenboim recorded the three Da Ponte operas with the Berlin Philharmonic. The BPO had played "Figaro" and "Don Giovanni" many times, but this was the first time that the group had ever tackled "Cosi fan tutte." Perhaps that is why they sound so fresh and energized under the thoughtful baton of Barenboim. Mozart's operas are usually performed with a small chamber or opera house orchestra, but this time the score of "Cosi" (which has so many beautiful, subtle touches, and is almost a celebration of beauty itself) is given the full treatment of perhaps the greatest orchestra in the world. While the resulting sound is somewhat "bigger" and more "lush" than is usual, Barenboim does manage to keep things appropriately light and "classical," just as he has so successfully done in the piano concertos which he is recording with the BPO.
The Grammy award-winning pianist Daniel Barenboim, long known for his Mozart interpretations, turns his attention to Mozart's last 8 piano concertos. The music of Mozart has quite literally been an essential driving force of Daniel Barenboim’s entire life. It remains central to his performing career both as a pianist and as a conductor. These illuminating performances of Mozart’s last eight great piano concertos admirably demonstrate Barenboim’s dictum that even when a true musician has already performed a familiar work hundreds of times, he or she ‘never accepts that the next note will be played the same way as it was played before.’
Believed to have been composed between August 1775 and January 1777, the Concerto In E Flat Major for two pianos technically counts as being the tenth of Mozart's twenty-seven concertos, that huge and prodigious body that would set the standards for all piano concertos from Mozart's time forward. Although it is not performed with the same frequency as his later works (especially the final eight concertos, 20-27), this "Double" piano concerto, believed to have been composed by Mozart for performance by him and his sister Maria Anna ("Nannerl"), is nevertheless a fascinating experiment of Mozart's, one that requires a pair of solid keyboard virtuosos to do (and for the composer's Seventh piano concerto, you needed three soloists). Fortunately on this 1984 Teldec recording, we have the required two keyboard virtuosos, both of whom come from very divergent musical backgrounds. Austrian-born pianist Friedrich Gulda came from a classical music background and began exploring jazz later on in his life; while Chick Corea is one of the best-known pianists in American jazz music, and, like fellow jazz musicians Wynton Marsalis and Herbie Hancock, developed a great feel for classical music.