Wolfgang Amadeus MOZART (1756-1791)
Piano Concerto no.17 in G, K.453 [30:06]
Concerto ("no.10") in E flat, for two pianos and orchestra, K.365 [24:28]
Sonata in D, for two pianos, K.448 [21:37]
Alfred Brendel (piano); Walter Klien (piano II)
Vienna State Opera Orchestra/Paul Angerer
rec. No details given. ADD
REGIS RRC1388 [76:31]
Regis do their reputation no good here by misspelling Walter Klien's surname no less than five times. As an Austrian, he could have been a Klein, but he was in fact a Klien. Gramophone's critic was unsure of the spelling when these recordings first appeared in the early 1960s, but Regis have the benefit of half a century of knowledge of his recordings and concerts. They even repeat the error on their website. They have also transformed the double Piano Concerto K.365 into K.535, which is actually a Contredanse in C.
At any rate, these are old Vox LP recordings that have been recycled many times, appearing in various reissues and commemorative boxed sets over the last two or three decades. This particular release has been considered here (near the bottom of the page): pace that reviewer's assurances, recorded sound is not very good. (It’s also reviewed as part of the Brilliant Classics Brendel Edition here) In K.453 the quality is rather tinny and wan, and there is distortion in both channels - crackling in the left and squealing of woodwind in the right - as well as added reverberation, although the latter is probably nothing to do with Regis. There is also a rather obvious editing join midway through the final movement. The double Concerto is a little better overall, but still pretty flat and with a slight but ever-present background hiss. The double Sonata comes closest to acceptable quality, at least once allowance is made for its age.
Those prepared to listen back through the fug of time will find typically faithful, clean performances by Brendel and Klien - expressive to a reasonable degree, with elegant phrasing and attractive teamwork. It is fair to say that neither pianist achieved their reputation for greatness playing Mozart. Nor is Mozart at his very best in these concertos, although the D major Sonata is one of his most brilliant accomplishments in the genre.
The two sides of English-only notes go into fair if mechanical detail about the works, but there is no mention of Brendel or Klien, either biographically or with reference to these particular recordings. 
In short, there is little value in this disc for Mozart fans. Collectors of Brendel or Klien paraphernalia might give it some consideration, but though the double Sonata K.448 is the one that gave birth to the so-called "Mozart Effect" a few years ago, truly smart people will realise that there are better bargains to be had in the many boxed sets available.
Collected reviews and contact at reviews.gramma.co.uk
Little value in this disc for Mozart fans.