K. 491. I've heard this be referred to as Mozart's most "Beethoven like" concerto. This descriptor doesn't seem terribly useful to me, but it is certainly a unique concerto among what are already masterpieces.https://youtu.be/qznvSzObEKI
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Replying to @nastyinmuhtaxi
Controversial take, what makes you think that? (Also weakest would probably be 26 but really with late Mozart you can't go wrong.)
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Replying to @Selment1
There is an indecision to it that ruins it for me, as if he were stuck between minor-mode musical drama (which requires less subtlety) and a more "chamber music" approach. His chord progressions are often anti-climactic too. But the piano, as always, is exquisite.
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No. 26 sets out to do something and does just that - to me it is perfect in that it perfectly fulfills its own goals, whereas no. 24 feels like it's always attempting something, going for something, reaching out, but always falling short of what it aims for.
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