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Because, I suppose, no one but you appears to argue that his interpretations are so overwhelmingly perfect and compleat as to make any further exploration pointless! Certainly, he's very damn good. I rely on Brendel and Kempff as the mainstays in Mozart's piano repertoire. My favourite recording of the Klavierkonzert Nr 9, K271 is by Brendel: https://www.youtube.com/watch?v=qYC5FwwO9x8 — an handsome combination of softness, strength, and directness, leading upwards like a Doric column. The Klavierkonzert Nr 20, K466: https://www.youtube.com/watch?v=rkei8G-7ey8 — here, Kempff is magnificent in the minor key, supremely human, lyrical, and expressive, yet strictly classical. _____________________________ ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων ἄδην ἔλειξεν αἵματος τυραννικοῦ I am several years away from university, and I was never formally enrolled in the Academy, so to speak, though my other studies led me there often enough, but the impression that I have is that: 1. Analytic philosophers give it little heed because it does not fit with their quasi-mathematics; and 2. Contemporary continental philosophers are too busy reacting to Derrida to trouble themselves with it. It is given a goodly amount of attention by philosophically-minded historians, however. _____________________________ ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων ἄδην ἔλειξεν αἵματος τυραννικοῦ It's a quiet cul-de-sac in the meandering road of moral philosophy. A few interesting authors have tarried there, but by its very nature, it's a concept from which the inquiring mind soon passes. _____________________________ ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων ἄδην ἔλειξεν αἵματος τυραννικοῦ Well, yes, if you can move past the aging lead actor and the brashness of the wench who is opposite him. _____________________________ ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων ἄδην ἔλειξεν αἵματος τυραννικοῦ View all replies >