Emil & Elena Gilels, Wiener Philharmoniker, Karl Bohm - Mozart: Piano Concertos K.595 & K.365; Schubert: Fantasy (2001)

This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.

The GRAMOPHONE Classical Music Guide 2010

This 77+ minute CD includes what must be among the finest recorded versions of each of these 3 compositions. First, a superb Mozart Piano Concerto 27 (K 595), the composer's final–and one of his most popular–concertos. This is probably the best 27 I've heard, with the great Russian pianist Emil Gilels at the pinnacle of his career. Here (and in K 365) the Vienna Philharmonic, led brilliantly by Carl Bohm, provides rich, colorful, authoritative support. In K 365, Mozart's Double Concerto, Elena Gilels, a very talented player in her own right, joins her father. Schubert's Fantasia in F minor (D 940)–a lovely, mood-shifting composition for 2 pianos (Emil and Elena)–is a great way to conclude this magical disc.

These 1970s recordings were superbly engineered, and the digital transfers are warm and vibrant. There's good balance between piano(s) and orchestra, and nice stereo separation of the two pianos. The "Product Details" (above) indicate this is "DDD," but of course it's really ADD (not that this is critical–some audiophiles actually prefer good analogue recordings over digital, even on CDs).

Review by David Conklin, Amazon.com

Since the early Seventies, something deep inside the soul of Emil Gilels changed. He transformed from a pianist into a musician, the level of expressiveness achieved majuscule proportions, he emphasized the cantabile line without lacking that vigorous fingering, austere virility and majestic musicality.

This version of the Kv. 595 still remains among the great interpretations of this piece ever made. And you might also add the radiant version of Haskil.- Frucsay, (by far my desert island choice), the enigmatic performance of Curzon- Britten, the mesmerizing reading of Demus with The Collegium Aureum or the majestic version of Schiff. Vegh.

The Kv. 365 played with his daughter Elena Gilels is worthy to keep in mind. But there is another genuine jewel: the freshness of the well known Schubert piano work, that only knows of a heavy weight performance Schiff- Ronan and the emotive version of Richter- Britten.

So, keeping in mind all these items. You should reconsider all these factors and think it seriously. I bought it six months ago and I may testify you the vivifying performance of one of the most celebrated recordings of the last century.

Add the presence of Karl Bohm in the podium and you will know what I mean. Recommended all the way through.

Review by Hiram Gòmez Pardo Venezuela, Amazon.com