The embarrassment of riches in Mozart’s piano concerto No.23 rewards pianist, orchestra and audience.
Soloist and orchestra are equal partners in the serene dialogue of the opening movement, though the piano takes virtuoso flight at every opportunity. Composed for his own use, Mozart’s most graceful concerto seems especially imbued with his spirit, as channelled through soloist Ingrid Fliter’s refined playing.
The Sixth Symphony, Tchaikovsky wrote, is ‘the best thing I ever composed or shall compose’. Generations of audiences agree; there is nothing like this journey from deepest sorrow to highest elation and the final dying heartbeats of the conclusion. Tchaikovsky reinvents the symphony as personal drama with universal resonance: it is nothing less than a struggle between life and death.