Géza Anda: Mozart Piano Concertos 5 to 11

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Mozart Piano Concerto No. 5 in D major, K. 175 (1773)
00:00 - Allegro (Cadenza: Mozart)
08:04 - Andante, ma un poco adagio (Cadenza: Mozart)
15:44 - Allegro (Cadenza: Anda)

Mozart Piano Concerto No. 6 in B-flat major, K. 238 (1776)

1-3. Mozart Piano concerto No.8 in C major K.246
4-6. Mozart Piano Concerto No. 9 in E-flat major ("Jeunehomme"), K. 271 (1777)
Géza Anda (Piano & Conductor) and Camerata Academica des Salzburgers Mozarteums

Piano Concerto No. 10 for Two Pianos, KV 365 Anda/Haskil/Galliera (1/3)

Piano Concerto No. 10 for Two Pianos, KV 365 Anda/Haskil/Galliera (2/3)

Piano Concerto No. 10 for Two Pianos, KV 365 Anda/Haskil/Galliera (3/3)

Piano Concerto No. 10 in E Major for Two Pianos, KV 365:
Pianists: Géza Anda and Clara Haskil; Conductor: Alceo Galliera, Philharmonia Orchestra

Piano Concerto No. 11 in F major, K. 413 (1782)

00:00 - Allegro (Cadenza: Anda)
08:37 - Larghetto (Cadenza: Anda)
15:46 - Tempo di Menuetto

Geza Anda (1921-1976)
The Hungarian pianist, Géza Anda, had studied with Imre Stefaniai and Imre Keeri-Szanto, before becoming piano pupil of Ernst von Dohnányi at the Royal Music Academy.
Géza Anda made his debut in 1939 in Budapest under Willem Mengelberg playing Brahms B flat major concerto, which would become his signature. He remained in Berlin during the first years of World War II, but in 1942 he fled to Switzerland, where he encountered the great pianist and teacher Edwin Fischer. Fischer was a proponent of performing the Mozart piano concertos while conducting from the keyboard, and Anda would later adopt this practice, adding bench-led performances of all the concertos (even the early ones) to his repertoire. He was among the first to explore the whole range of Mozart's concertos, at a time when only the "greatest hits" were heard in concert halls; his outstanding 1960's recordings of the complete cycle with the Camerata Academica of the Salzburg Mozarteum remain a milestone in the history of recorded music.

Géza Anda's style was noteworthy for its transparency of texture and its singing qualities, which led Wilhelm Furtwängler to dub him a "troubadour" of the piano. His flawless technique allowed him to invest his performances with considerable individuality: his readings of Schumann, for instance, were breathtakingly multidimensional, full of asides and highly appropriate introspective commentary conveyed from within Schumann's notes. He was especially influenced by his artistic partnership with the great Romanian pianist Clara Haskil, with whom he played two-piano repertoire from 1953 to 1958. Her moral commitment to conveying music's essence deepened Anda's own musical insight; his subsequent performances reflected a new harnessing of his strong musical personality to the service of the music's meaning.

Géza Anda: Mozart Piano Concertos 12 to 20
Géza Anda: Mozart Piano Concertos 21 to 23