Simone Renzi plays Mozart - Piano Concerto K. 488

Hi Stefano. The third movement is finished, but I was counting on losing a bit of time tomorrow to adjust the dynamics of the file to a loudness of 14 dB. It will take a little while. I will probably be able to post it tomorrow.

Published the entire concert in the first post on the first page.

How envious! I must find the time to come and snoop through your things.

Is the orchestra pre-recorded? And if so, is it real or sampled?

Dear Simone, my warmest compliments for the entire concert. What is there to say that others haven't already said? I like the choice of tempos and sound. It is a product edited in a refined manner as the music of the Great Mozart demands!! Your interpretation is sublime!!!! I truly believe it is the one I like most of all!!! There was talk of those by Horowitz and Giulini... which I don't like 100%, even while bowing before such artistic greatness. Even the sonata in B-flat on the back of the record is very "romanticized". The late S. Vertes, Export Director of Casa Steinway and my friend, confessed to me once over lunch: "if they give me a Horowitz record, I will gladly listen to it... but I wouldn't buy it": He had known him personally, also due to the close relationship the Maestro had with F. Mohr. Here we find ourselves again at Casa Steinway, virtually facing an international-level interpretation, and I believe those "big names" of the musical world would have greatly appreciated it. Who knows how many more will be able to appreciate it!!!!. Ad Majora!!! Compliments, my friend!!!

For me it is pure magic in every sense and you are the king of magicians! Very good!!

I know this concerto even though I haven't studied it, and to me everything seemed very rhythmically regular and therefore clear; the only flaw is that in the video there is no indication of the piano dynamics in the score, which is essential

Well, they would have been essential if Mozart, first and foremost, had included them... In the original manuscript, Mozart did not insert any dynamic indications for the piano, whereas those for the orchestra are copious; therefore, one must be guided by the orchestra, which is a very common thing in Mozart's concertos. In fact, dynamic indications for the piano are so rare that you risk going through all the concertos and only counting 4 or 5. You do find a few (a couple of Fs) in the first movement of the second concerto, K. 39 for example.

Below I am attaching Mozart's manuscript of the 488.

Mozart - Piano Concerto K. 488 Manuscript