Artist: Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne
Album: Mozart à l’opéra
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:18:40
Total Tracks: 9
Total Size: 1,21 GB

Tracklist:

01. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Fantasia in C Minor, K. 475 (12:17)
02. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Piano Concerto in E-Flat Major, K. 482: I. Allegro (14:05)
03. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Piano Concerto in E-Flat Major, K. 482: II. Andante (07:28)
04. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Piano Concerto in E-Flat Major, K. 482: III. Allegro (11:58)
05. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Ch’io mi scordi di te, concert aria, K. 505 (10:08)
06. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Sonata for Piano Four Hands in F Major, K. 497: I. Adagio (02:03)
07. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Sonata for Piano Four Hands in F Major, K. 497: II. Allegro di molto (05:14)
08. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Sonata for Piano Four Hands in F Major, K. 497: III. Andante (07:26)
09. Philippe Cassard, Natalie Dessay, Cedric Pescia, Orchestre National de Bretagne – Mozart: Sonata for Piano Four Hands in F Major, K. 497: IV. Allegro (07:57)

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The voice! The voice which, even if absent from the score, insinuates itself between the two hands of a pianist playing Mozart. In this music, all is dialogue, mingled avowals and passions, on the threshold of the opera house. All Mozart’s forms are nurtured by the same source, that of vocal melody. “I like an aria to be as precisely tailored to a singer as a well-cut suit”, he declared when he composed an aria. And what an aria this one is! Ch’io mi scordi di te! The keyboard enters into dialogue with the soloist. And then we leave the world of the aria for that of the concerto, unless it be an imaginary sonata…

Directed from the piano by Philippe Cassard, the Concerto No. 22 borrows the same “suit”. Here is a piece of “wordless theatre”, composed at the period of Le nozze di Figaro, which portrays first drama, then meditation, and finally carefree joy. The divine spectacle continues with the Fantasia, KV 475, which foreshadows the worlds of Beethoven and Schubert, with their cries and whispers and things unsaid.

Let us complete these imaginary dialogues with the finest of the sonatas for piano four hands, KV 497. Two voices in unison, enamoured of beauty.