Analog Record
MOZART Piano Concerto No. 20, No. 27 etc. CURZON
Mozart: Piano Concerto No. 20, No. 27
Schubert: Moments Musicaux
A little-known but superb and immortal masterpiece of Mozart concertos by Clifford Curzon and Benjamin Britten
Genre: Concerto/Instrumental Music
Sir Clifford Curzon (piano)
Benjamin Britten (conductor)
English Chamber Orchestra
Label: DECCA
Audio Source: Universal Music LLC
Specifications: 33 1/3rpm Analog LP 2-disc set, 180g heavy vinyl
Cardboard single A-style jacket
Catalog Number: ESLD-10013/14
A sublime Mozart concerto by two of the 20th century's leading pianists
This exquisite concerto features two pianists who poured their devotion to Mozart into his music: Clifford Curzon, considered one of the world's greatest pianists, and Benjamin Britten, the only pianist he truly admired. Furthermore, it includes Schubert's "Moments Musicaux," a piece never before released on Super Audio CD and only available on this LP. This repertoire, one of his most celebrated works, is remastered using "Esoteric Mastering."
Released May 23, 2026
A little-known but sublime and immortal masterpiece of Mozart's concertos by Clifford Curzon and Benjamin Britten
ESOTERIC's meticulously crafted analog record
This is a sublime concerto by two pianists who poured their devotion to Mozart into their music: Clifford Curzon (1907-82) and Benjamin Britten (1913-76). When Curzon passed away at the age of 75, obituaries in Britain and America described him as "one of the world's greatest pianists," and in Germany, he was highly praised as "a master pianist capable of expressing pure and noble beauty." He was a leading pianist of the 20th century, and in 1977, he became the first pianist in Britain to be knighted. However, he is surprisingly little known in Japan, perhaps due to the fact that he never visited Japan and there are few recordings. However, this is rooted in his consistent artistic convictions.
Born in London, Curzon made his debut at the age of 16, recognized by the renowned conductor Henry Wood. His exceptional talent quickly gained attention, and from 1928, he studied for two years under the maestro Schnabel, who made significant contributions to the popularization of 20th-century Classical music and Schubert. After his Berlin debut in 1930, he rose to fame in Europe, primarily in London, from 1932, achieving international recognition. While he performed many brilliant Romantic pieces during that period, he later focused his repertoire on the Classical period and early Romantic composers such as Schubert, Schumann, Liszt, and Brahms, a focus he had maintained since the beginning of his career. In the 1970s, he almost exclusively performed Mozart and Schubert, becoming a Mozart specialist who performed at the Salzburg Festival, a Mozart mecca, from 1955 to 1978. This album features a lineup of his most accomplished repertoire.
This Mozart recording, finally released 12 years after its creation, embodies Curzon's insatiable curiosity and true essence.
"Curzon did not welcome unexpected visitors to the studio or control room who could disrupt his pure musical interests, and visitors were strictly forbidden." (Producer: Ray Minchal)
While Curzon wasn't extremely averse to recording, he required meticulous care during recordings, striving for perfect expression. He spent his free time researching and honing his skills, and many of his recordings were not approved for release even after completion, making him a challenging performer for producers.
It's said that he proposed recording the complete Mozart piano concertos, a major part of his repertoire, to Decca in the 1960s, but only one set—the 1967 recording of concertos 23 and 24 with Kertész and the London Symphony Orchestra—was released during his lifetime. This album, too, was released 12 years after its recording, in 1982, after his death. That is where the essence of Curzon as a pianist who dedicated his life to music and art lies.
Curzon, a perfectionist and uncompromising seeker, was never satisfied with what he considered his own interpretation of Mozart. His attachment to Symphony No. 27 was particularly strong; despite co-creating it with his compatriot Britten, he cherished the new sensibilities and interpretations he gained in later concerts, and therefore refused to authorize the release of this recording. He had previously refused permission for the release of recordings by Szell with the Vienna Philharmonic in 1964 and Kertész with the London Symphony Orchestra in 1967. He finally granted permission in 1978, but only on the condition that this recording be a fourth new interpretation. However, Britten was no longer alive. Due to Curzon's own health problems, no new recordings were made, and this album was released posthumously as a tribute. While recordings by Szell and Kertész were later released, this recording with Britten, the only one Curzon acknowledged, can be considered the true interpretation of Symphonies No. 27 and 20 that Curzon sought.
Britten, the collaborator on two of Curzon's most widely recognized Mozart recordings, was undoubtedly a leading 20th-century composer and a British master who excelled as a conductor and pianist, not just on his own compositions. As a conductor, after 1961, he conducted his own works with the English Chamber Orchestra, a regular at the Aldeburgh Festival, and left behind a considerable number of recordings, including those of J.S. Bach. Like Curzon, he had a deep affection for Mozart, recording almost all of his major symphonies.
This LP features newly mastered Schubert recordings that can only be heard on this release.
This LP also includes Schubert's "Moments Musicaux," a piece Curzon frequently performed, which has never been released on Super Audio CD. The recordings have been newly mastered using the equipment and cables of the Esoteric Mastering Center. His Schubert performances are another highlight of this LP, a delightful track full of Curzon's charm.
The LP format enhances the listening experience, creating a soundscape with a charm beyond the typical Decca sound.
The recording engineer is Kenneth Wilkinson, a renowned Decca engineer who succeeded Gordon Parry, who worked on the famous "Ring Cycle." The recording location, Maltings, is a concert hall in Snave, Suffolk, in eastern England, originally built as a brewery in the 19th century. Since 1967, it has been used as the main venue for the Aldeburgh Festival, and Britten conducted almost all of his later works there, including not only his own compositions but also the Brandenburg Concertos, St. John Passion, and symphonies by Mozart and Schubert.
And the sound produced here is the greatest charm of this work. It has a different character from the typical so-called Decca sound. It is clear, well-separated, lustrous, and dynamic. That sound that captivated not only music fans but also audiophiles in the analog era... here you'll find an exceptional sound, enhanced by the beauty of its resonance, warmth, the blend of each instrument, and a smooth tone quality. This sound, difficult to express on CD, was achieved through remastering at the Esoteric Mastering Center. This time, we hope you'll experience not just the quality of the sound, but also the atmosphere of the hall, evident in the breathing and timing of the performance, on this LP.
The cutting was handled by Katsutoshi Kitamura, cutting engineer at Mixers Labs. His masterful skills were poured into the master disc. While it's rare to cut lacquer discs solely for listening purposes these days, Esoteric created multiple lacquer discs using different transmission methods to the console in pursuit of the best sound quality.
Newly remastered specifically for analog records:
The original master was newly remastered for analog records at "Esoteric Mastering." We created a master disc that prioritizes sound quality above all else, using meticulously tuned ESOTERIC's top-of-the-line equipment: the Master Sound Discrete DAC and Master Sound Discrete Clock, along with MEXCEL cables. Analog cutting was performed at Mixers Lab using a Neumann VMS80 cutting lathe, a legendary machine from the golden age of analog. Manufactured in West Germany, only two of these machines are currently in operation in Japan. With the cooperation of Mixers Lab, we brought the "Esoteric Mastering" equipment into the cutting room and connected the output directly to a Neumann SP79C cutting console. Without using the console's equalizer, the "Esoteric Mastering" sound was sent directly to the cutting process.
The cutting was performed by Katsutoshi Kitamura, a cutting engineer at Mixers Lab, who poured his masterful skills into the master disc. Currently, it's rare to cut lacquer discs solely for listening purposes, as master discs are typically only cut for record pressing. However, Esoteric, in pursuit of optimal sound quality, created multiple lacquer discs while varying the transmission method to the console. These multiple discs were then brought back to the Esoteric Mastering Center, where they were auditioned and sound-quality checked on an ESOTERIC Grandioso T1 analog turntable to determine the optimal transmission method. By meticulously focusing on analog sound, they succeeded in capturing the information contained in the original master and translating it into an analog record with a rich, expansive sound.
"A well-ordered interpretation, understated formality, and deeply human emotion."
"In Curzon's performances, the logical and stylistic grasp of the work, the emotion, the refined touch of his fingers and the design of his pedaling, and the momentary inspiration are highly organically integrated. His performances are extremely delicate in sensibility, but not fragile; they are warm. Furthermore, when heard in Curzon's performance, the work reveals its most beautiful proportions. Mozart was undoubtedly highly regarded in Curzon's repertoire. These two pieces with Britten are truly worthy of the word 'high quality'."
"Classical Masterpieces: Concerto Edition, ONTOMO MOOK," Ongaku no Tomo Sha 1998
"A perfectly executed interpretation, like a mathematical solution, maintaining its elegant tone even at the most powerful playing. The clear orchestral approach comes very close (No. 20). This is the performance I feel most attached to. Curzon's expression is superficially restrained and proper, but a rich melody breathes within it, and one can even find the fluctuations of human emotion." (No. 27)
"Record Geijutsu Edition: 300 New Masterpieces and Masterpieces," Ongaku no Tomo Sha, 1999
"There is nothing ostentatious about it; the beautiful and clear touch is completely natural. The music is played with meticulous detail, but the indescribable flavor that emerges from it is a testament to the performer's high caliber. Britten skillfully matches Curzon's piano playing, carrying the music with supple contrast and adding a refreshing vitality." (No. 27)
"1000 Immortal Classical Masterpieces," Ongaku no Tomo Sha 2007
"Curzon was a performer who had mastered everything necessary for piano expression. In this Mozart, the utmost fluidity, nuance, and delicate touch are displayed throughout the entire piece. It is a performance that makes you feel anew the infinite beauty of Mozart's music. As for Britten, when the composer himself is seriously conducting, it is truly amazing. Every phrase feels renewed, giving a sense of freshness and emotion." (No. 27)
From "Masterpieces and Masterpieces of the 21st Century 2," Ongaku no Tomo Sha 2003
"In terms of the warmth of expression that gives each note a tangible feel, there are very few pianists who can deliver music like this. Britten's conducting, from the syncopation at the beginning of the first movement, has a rich expression that hides a subtle drama and has the persuasive power to instantly draw the listener into the drama of this concerto (No. 20). Curzon's solo can be said to express a kind of sublimity inherent in this work with a sincere attitude. Britten also closely follows Curzon, providing nuanced and effective support." (No. 27)
"Record Geijutsu: 300 Masterpieces and Masterpieces," Ongaku no Tomo Sha, 1993
"Even in Schubert, Curzon accurately expresses the character of the work and asserts the charm of the piece with strong persuasiveness." (Moments Musicaux)
"500 Masterpieces by Pianists: ONTOMO MOOK," Ongaku no Tomo Sha, 1997