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Bruno Repp
American Record Guide, November 2017

[Gulda’s] uncanny technical control, lucidity, and rhythmic vitality were unequaled…

Here we have two separate concert recordings from the archives of the Bavarian Radio. They document two phases in Gulda’s career. The earlier one has two rarely heard rondos for piano and orchestra by Mozart, recorded in 1969. These charming works are performed most engagingly in excellent sound and without a trace of audience noise. Bookended by them is the first half of a concert Gulda shared with the jazz pianist Chick Corea in 1982. Here he embeds a familiar Mozart sonata in compositions of his own. The sonata is both preceded and followed by an improvisation, and further Gulda pieces follow, with applause.

I find Gulda’s creations original, witty, and sometimes moving. They are as unpretentious as his pellucid Mozart interpretations. © 2017 American Record Guide Read complete review on American Record Guide

Dominy Clements
MusicWeb International, September 2017

The orchestra is in top form, and Gulda is both respectful and inventive in his shaping and blending of the piano part with the rest of the band in genuinely chamber-music interactions.

This is a well-presented addition to our collection of Friederich Gulda recordings, and will of course be a ’must-have’ for his fans. There is much beauty here alongside the less conventional playfulness, but the solo performances capture a unique event that stands up even on a recording, lifted from but bringing with it plenty of that live atmosphere. The two Rondos are gorgeous, and I’m sure the whole venture is blessed by the spirit of Mozart. © 2017 MusicWeb International Read complete review

Alain Steffen
Pizzicato, July 2017

Highly inspired Mozart performances with Friedrich Gulda. It’s a great pleasure too, to experience the expert Mozart conducting by the young Leopold Hager. © 2017 Pizzicato

Hank Zauderer
My Classical Notes, June 2017

Gulda proves to be a highly gifted interpreter of Mozart as well as a mischievous improviser on the piano—who also wants to entertain and can do so on a high level.

Gulda plays cheerfully without the slightest audible effort, combining Mozart with the finesse of a grandiose performer who is in fact laughing up his sleeve. © 2017 My Classical Notes Read complete review

Lynn René Bayley
The Art Music Lounge, May 2017

Why is it that I love Friedrich Gulda’s Mozart so much and tend to dislike so many other pianists playing it? …I think it’s because Gulda…played his music with guts. He didn’t play it like some mincing drawing-room quadrille to be admired by slothful wealthy patrons but not by the general public.

Of course, much of this stems from Gulda’s own aesthetic, which was that music should be eaten by the performer and then internalized, to be played out as if it were part of your DNA. His lifelong affinity for jazz, which he eventually came to play pretty well, had a lot to do with it—that, plus the fact that as a jazz musician he was, ipso facto, a creator himself.

Recommended! © 2017 The Art Music Lounge Read complete review

Dean Frey
Music for Several Instruments, May 2017

In a feat that I’m sure Mike Nichols would have applauded, Mozart has taken some fairly pedestrian, even banal, themes, and spun them into a high level of entertainment, if not actual profundity. Gulda, with able assistance from Leopold Hager and the Symphonieorchester des Bayerischen Rundfunks, doesn’t let down the side; he keeps the comedy moving, and he highlights the universal significance of the comic spirit. These two movements are a joy to listen to.

The second concert is actually a very special and famous one, and I’m quite surprised this portion of it has never been released before. It’s the first 40 minutes or so of The Meeting between Gulda and Chick Corea, from June 27, 1982. This is Gulda playing solo, mainly his own improvisations, with a fine, typically dynamic version of Mozart’s K. 330 sonata providing a kind of centre of gravity to the proceedings. Gulda’s pieces aren’t jazz, precisely, though he’s clearly at home in several jazz idioms. They’re really more like post-modern pastiches, with lots of Mozart, bits of Bach and blues and full-blown Romantic passages, mixed with a very Viennese-sounding sense of satire and parody. They’re an important part of Gulda’s playfully profound music. © 2017 Music for Several Instruments Read complete review

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