Wilhelm Kempff plays Mozart: Vol. II

Wilhelm Kempff plays Mozart: Vol. II
Wilhelm Kempff
Catalogue No.

CD 1
Piano Concerto No. 9 in E flat major, KV 271 ‘Jeunehomme’
Piano Concerto No. 15 in B flat major, KV 450

Members of L’Orchestre de la Suisse Romande
Stuttgarter Kammerorchester
Karl Münchinger

Fantasia in D minor, KV 397
Fantasia in C minor, KV 475

CD 2
Piano Sonata No. 8 in A minor, KV 310
Piano Sonata No. 11 in A minor, KV 331
Piano Concerto No. 27 in B flat major, KV 595

Berliner Philharmoniker
Ferdinand Leitner
Wilhelm Kempff, piano


Recording information

Recording Producers: Victor Olof (Piano Concertos Nos. 9 & 15); Hans Weber (Fantasias & Sonatas); Heinz Wildhagen (Fantasias & Sonatas); Otto Gerdes (Piano Concerto No. 27)
Balance Engineers: Gil Went (Piano Concertos Nos. 9 & 15); Heinz Wildhagen (Fantasias & Sonatas); Werner Wolf (Piano Concerto No. 27)
Recording Locations: Victoria Hall, Geneva, Switzerland, September 1953 (Piano Concertos Nos. 9 & 15); UFA-Tonstudio, Berlin, Germany, January 1962 (Fantasias & Sonatas, Piano Concerto No. 27)


‘almost anything played by this keyboard titan is worth hearing’ International Piano

‘poetry in almost every phrase’ Gramophone

‘Great performances, like great music, transcend history. Wilhelm Kempff, in his Mozart recital for DG in 1962 achieves miracles of beauty by means which are now frowned upon in certain circles but which are an object lesson in great piano-playing and great music-making: in phrasing at every level, in melodic inflection, finesse of rubato, pianistic colour as an agent of structure, in pedalling.’ Piano

‘The timbral bite and delicious registral differentiation characterising Lubin’s instruments was replicated on a modern grand piano when Wilhelm Kempff sat down to record a ravishing Mozart recital for DG in 1962 . . . Trills, turns and roulades caress the ear to the point where issues of “correct” style are irrelevant, while few pianists match the rhythmic kick of Kempff’s rolled chords in the Rondo alla turca. It’s also refreshing to hear the Fantasias (in D minor and C minor) sound more like unpressured improvisations than tortured soliloquies.’ Gramophone