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Ingrid Jacoby

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MOZART
Piano Concerto No.14 K449
Piano Concerto No.27 K595
Rondo K382
Ingrid Jacoby PIANO
Academy of St Martin in the Fields
Sir Neville Marriner
ABBEY ROAD STUDIOS, LONDON, 28–30 JUNE 2013

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Praised by The New York Times for her ‘clear articulation … unequivocal phrasing … [and] expressivity’, Ingrid Jacoby’s new recording of Mozart’s Concertos Nos. 14 and 27 with the internationally celebrated Academy of St Martin in the Fields and Sir Neville Marriner follows on from her critically acclaimed cycle of the Beethoven Concertos on ICA Classics. Her previous albums received wonderful reviews from the German magazine Crescendo ‘Jacoby revitalises Beethoven’s Piano Concertos …terrifically and with so much intelligence and energy that all leading competitors pale by comparison’ and in International Record Review ‘Utterly compelling … here is a performance of Beethoven that is well-nigh flawless in every regard’.

The release of this very high-profile recording marks an important milestone in Ingrid Jacoby’s career and will be followed with a second volume of Mozart Concertos in autumn 2014.

Released on March 3rd 2014.

Pre-Order on iTunes exclusively from February 17th 2014.

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WOLFGANG AMADEUS MOZART 1756–1791

Piano Concerto No.14 in E flat major K449

(Cadenzas: Mozart)

1 I Allegro vivace 9.27

2 II Andantino 8.36

3 III Allegro ma non troppo 6.36

Piano Concerto No.27 in B flat major K595

(Cadenzas: Mozart)

4 I Allegro 14.12

5 II Larghetto 8.25

6 III Allegro 9.26

7 Concert Rondo in D major K382 (Cadenza: Mozart) 10.07

INGRID JACOBY piano

Academy of St Martin in the Fields

Sir Neville Marriner

Recorded: Abbey Road Studios, London, 28–30 June 2013

Mozart Piano Concerto No.14 – Finale

Grade 
Agnieszka M
03/Feb/2015

[...]I am equally pleased to report that pianist Jacoby not only matches Marriner in his liveliness but adds a gusto and sparkle of her own. The great-great-great-granddaughter of Prince Louis Ferdinand, for whom Beethoven wrote his Third Piano Concerto, Jacoby is a pianist of not only intelligence and digital dexterity but also of imagination. Indeed, she makes much more of the Concerto No. 14 than I’ve ever heard before via her varied rhythmic attack and phrasing. She is powerful yet playful in the first movement, unusually broad in phrasing in the second (though the middle of the movement shows her injecting some real emotion into this normally lightweight music), and the third really sparkles as Jacoby slightly separates the notes, creating small spaces between them, and emphasizing the music’s rhythm in a way that is engaging and not mechanical.
Lynn Rene Bayley

Fanfare

    Grade 
    Aurelie B
    30/Jul/2014

    K449 was the first piece entered in the catalogue of his works that Mozart started in February 1784. Despite that distinction, it’s too seldom heard, so it is a pleasure to have a chance to do so, and coupled with his last piano concerto, K595. Jacoby, a robust but sensitive player, takes quite a leisurely view of K449 (the first movement gets slower), but achieves a good partnership with Marriner’s orchestra, which realises K595’s magical, rarefied textures beautifully.

    David Cairns

    Sunday Times, May 2014

      Grade 
      Aurelie B
      16/Jul/2014

      [...] Jacoby plays these beautiful concertos straight and with impressive precision. [...] Good for them for including this concerto, though, as well as the Rondo K. 382. The sound is rich and warm.

      Mary Kunz Goldman

      The Buffano News, April 2014

        Grade 
        Aurelie B
        18/Jun/2014

        Zwei kontrastierende Werke prägen diese CD: sein 14. Klavierkonzert komponierte Wolfgang Amadeus Mozart in einer glücklichen Zeit. Als Pianist und Konzertveranstalter feierte er in der Musikmetropole Wien große Erfolge. Es schien eine gute Entscheidung, dass er seine regelmäßige Tätigkeit für den Salzburger Erzbischof aufgegeben hatte – mochte Vater Leopold auch granteln und vor dem wetterwendischen Geschmack der Wiener warnen.

        Doch schon das Rondo KV 382 (das diese CD abrundet) hatte unter den Wiener Musikkennern nach Mozarts eigenen Worten "großen Lärm" gemacht. Nach fünf Jahren aber deutete sich an, dass Vater Leopold mit seinen Unkereien recht gehabt hatte: Mozarts Stern bei den Wienern sank rapide. Er schrieb kaum noch Klavierkonzerte; und am 4. März 1791 bestritt der einst umjubelte Pianist seinen letzten Auftritt als Konzertsolist. Er spielte dabei das 27. Klavierkonzert, zu dem Mozarts Biograph Alfred Einstein später schrieb, es sei "ein Werk des Abschieds".

        MDR Figaro (June 2014)

          Grade 
          Aurelie B
          18/Jun/2014

          Ingrid Jacoby pairs two of Mozart's most delectable concertos on her new disc, which is rounded out with the early D major Rondo. At her finest, she displays a wonderful clarity of fingerwork and she is particularly impressive in the irrepressible 6/8 coda that closes K449. [...]

          Gramophone, July 2014

            Grade 
            Aurelie B
            23/Apr/2014

            [...] Sir Neville is still fizzing after all these years and busy celebrating his 90th birthday with concerts and recordings, including this Mozart concerto offering. All the academy trademarks are here: crisp tempi, lightness of touch and sparkling sound. Ingrid Jacoby is in suitably playful mood, dancing through the finale of the E flat major concerto and charming us with the childlike grace of No 27's larghetto.

            Stephen Pritchard

            The Guardian, 20 April 2014

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