Eschenbach - Mozart, Piano Sonata K. 570 in B Flat Major - II Adagio

Early life

Eschenbach's parents were Margarethe (née Jaross) and Heribert Ringmann. He was orphaned during World War II. As a result of the trauma, he did not speak for a year, until he was asked if he wanted to play music. Wallydore Eschenbach (née Jaross), a cousin of his mother, adopted him in 1946. After the war, he studied the piano with his foster mother. He later studied piano with Eliza Hansen and in 1955 he enrolled at the Musikhochschule in Cologne, studying with Hans-Otto Schmidt-Neuhaus. At age 11, he had witnessed Wilhelm Furtwängler conduct, which had a great impact on him. In 1959, he started studying conducting with Wilhelm Brückner-Rüggeberg.
[edit]Musical career

As a pianist, Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, Herbert von Karajan was his mentor for nearly twenty-five years.
In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. Other posts have included music director of the Houston Symphony Orchestra (1988-1999), where he now holds the title of Conductor Laureate; chief conductor of the NDR Symphony Orchestra, Hamburg (1998-2004); and music director of the Ravinia Festival, summer home of the Chicago Symphony Orchestra (1994-2005). He has made more than 80 recordings both as piano soloist, conductor, or both, has appeared in several television documentaries, and made many concert broadcasts for different European, Japanese and U.S. networks. Since 2000, Eschenbach has been the Music Director of the Orchestre de Paris. In May 2007, it was announced that Eschenbach would conclude his tenure with the Orchestre de Paris in 2010.[1]
Eschenbach is credited with helping and supporting talented young musicians in their career development, including soprano Renée Fleming, pianists Tzimon Barto and Lang Lang, and soprano Marisol Montalvo. (Wikipedia)

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[GuitarMan14141]

I heard this first in that Hyundai Sonata commercial, and I thought it was supposed to be a rendition of O Canada... :P

[toneeeeeee]

@ProkofievRules True, cliche as it is, it is possible with good reason. Considering that Mozart is very often referred to as the most transcendent composers of all time (in a much different way than LVB) listeners are often transfixed by his simultaneous complexity and simplicity. No other composer reveals both truth in order and inherent beauty of the world than Mozart. A good reason to cry, if you ask me.

Also, how can anyone not listen to Beethoven's Op. 111 and not tear up?

[whitetigerw10]

@ProkofievRules Hehe yes especially with some of Haydn's Trumpet Concerto's or Sonata's, The way Haydn or Bach can manipulate the keys they compose in and ESPECIALLY Mozart in all his playfulness makes me laugh so hard sometimes. But Don't get me started on a piece the his Requiem or some of Mendelssohn's or Chopin's piano sonata's or Valses. If you've never cried about it, your missing the picutre.

[ProkofievRules]

What is it with this cliche of crying to classical music? That's crap. I think it's happened to me...maybe 2 or 3 times in all the time that I've listened to classical music(about 10 years). I have burst into laughter though. You never hear of people doing that, though.

Grow a pair, people.

[StradMan37]

Your dog died?

[waveofmusic]

I love the clarity and tone of the piece! i have to say Echenbach's interpretations on Mozart are one of the best :)

[lovespianola]

I'm hoping to learn the whole piece for a month for examination. I hope I could acquire a good insight of it for just a short period of time =l

[yuantingz]

very good rendition of the piece. =)