This is a justly famous recording of Mozart's #21, being the same version used in the sound-track to Elvira Madigan:  the music is far more interesting than the movie, which is melodrama at its most implausible, even if based on a true story.

Still, reviewers here who claim this is the best #17 there is must be smoking the curtains.  It's an adequate 17.  No more, no less.

The finest recording available of #17 is the one Andreas Staier did with Concerto Koln about 10 years ago.  Currently out-of-print, but worth hunting down.  It'll knock your socks off.  It's arguably as close to how it all would have sounded when Mozart played it as anyone has achieved in the here-and-now..  and that's merely a felicitous detail.  Staier and his band deliver a spectacularly virtuosic and insightful performance of Mozart.  There is no better out there.

All others pale utterly in comparison.  Except maybe one that Robert Levin did some years ago with an orchestra the name of which escapes me now..might have been a live performance.  That one was terrific too.  But not as good as Staier.  He brings Mozart back alive in a way no other performers do.

As for the Anda here?  Nice performance.  Certainly worth the money.  But hardly the be-all and end-all some reviewers here suggest.  The playing is a bit pale and stodgy in general.  It's no-one's fault.  At the time, this was cutting-edge playing.  It's simply been superceded.

And I grew up on Anda's complete set of recordings of the concertos.  I know them well.  They were favorites for a long time.  And I still have a soft-spot for them.

But time marches on.  And sometimes the new shadows the old.  Such is the case here.

And before the period-bigots pile on, go *listen* to the Staier.  For about 6 months.  Get a firm grip on it.  Get it into your bloodstream.  Then come back and tell me what's wrong with it.  If you can.
This is a justly famous recording of Mozart's #21, being the same version used in the sound-track to Elvira Madigan:  the music is far more interesting than the movie, which is melodrama at its most implausible, even if based on a true story. Still, reviewers here who claim this is the best #17 there is must be smoking the curtains. It's an adequate 17. No more, no less. The finest recording available of #17 is the one Andreas Staier did with Concerto Koln about 10 years ago. Currently out-of-print, but worth hunting down. It'll knock your socks off. It's arguably as close to how it all would have sounded when Mozart played it as anyone has achieved in the here-and-now.. and that's merely a felicitous detail. Staier and his band deliver a spectacularly virtuosic and insightful performance of Mozart. There is no better out there. All others pale utterly in comparison. Except maybe one that Robert Levin did some years ago with an orchestra the name of which escapes me now.. might have been a live performance. That one was terrific too. But not as good as Staier. He brings Mozart back alive in a way no other performers do. As for the Anda here? Nice performance. Certainly worth the money. But hardly the be-all and end-all some reviewers here suggest. The playing is a bit pale and stodgy in general. It's no-one's fault. At the time, this was cutting-edge playing. It's simply been superceded. And I grew up on Anda's complete set of recordings of the concertos. I know them well. They were favorites for a long time. And I still have a soft-spot for them. But time marches on. And sometimes the new shadows the old. Such is the case here. And before the period-bigots pile on, go *listen* to the Staier. For about 6 months. Get a firm grip on it. Get it into your bloodstream. Then come back and tell me what's wrong with it. If you can.