Mozart: Piano Sonata No.11 in A major, K.331 Analysis. 2. In these three concertos, as in his own playing, Mozart showed himself to be the first major composer to understand the expressive potential of the piano, and particularly its possibilities in dialogue with an orchestra. - Washington Post - Review of Leon Fleisher's performance of the Piano Concerto No. By the early 1780s, the piano was sweeping Europe, gradually ousting the harpsichord as the most favoured keyboard instrument. 11 in F Major, K.413; Piano Concerto No. 3 in B-flat Major, K. 502 12; Pianokonsert nr. 5-12:2 phr 2! 12 in A major is still playful at times, but is also a more mature version of mastery. Piano Concerto No. By the end of the eighteenth century, Vienna was to be full of pianos (and piano-makers), but in the early 1780s they were rare luxuries, owned only by a few households. When the concertos were published in printed form, two years later in 1785, they sold very well. Andante in F major. Mozart played an important role in this change of fashion, by writing music ideally suited to the new instrument, and by revealing its capabilities in his own playing. 11 in F Major, K.413; Piano Concerto No. And a little way into the opening march of the C major concerto, there is an unexpected moment when the three upper lines weave darkly around each other over a long, held G in the bass (a ‘dominant pedal’). The site is also available in several languages. For many of the occasions on which Mozart played to public or semi-public audiences—in theatres, restaurants, palaces and private houses—we must imagine a fortepiano being manhandled up and down stairs and carted round the streets of Vienna. The Piano Concerto No. Mozart advertised for subscribers in January 1783: ‘These three concertos, which can be performed with full orchestra including wind instruments, or only a quattro, that is with 2 violins, 1 viola and violoncello, will be available at the beginning of April to those who have subscribed for them (beautifully copied, and supervised by the composer himself).’ Six months later, Mozart complained that it was taking a long time to secure enough subscribers. Similarly in the opening of the C major concerto the orchestra sets out enough material for the building of a whole movement, but then the soloist enters with what seems like a completely new thought. ‘Susan Tomes's playing has all the qualities for which Mozart himself was renowned: delicacy, agility, neatness, expressive eloquence. Speeds are relatively fast, with slow movements kept moving to bring out their soaring lyricism’ (The Guardian), ‘Light and air is everywhere; the transparency of the sound remains a constant delight … a sense of musicians bouncing their performances off each other … these are above all genial renditions. Crucially, too, in Mozart, she knows when to be simple. 12 in A Major, K.414; Piano Concerto No. 12 in A major, K 414 Piano Concerto No. Concerto for Flute & Harp, K. 299; Divertimento in D, K. 136 Don Giovanni Overture Eine kleine Nachtmusik, K. 525 Flute Concerto in G, K. 313 Le nozze di Figaro Overture Piano Concerto No. There are instances throughout the concertos where the quality of thought simply demands the resources of a piano. To take only two examples: in the slow movement of the A major concerto, the piano’s statement of the opening theme, with octaves in the left hand, could hardly be played satisfactorily without the piano’s sustaining pedal (which Mozart praised on Stein’s instruments); in the opening of the F major concerto, the piano first enters with a high, quiet answer to the violins—drifting in unobtrusively, in a manner that could not be achieved on a harpsichord. Staples of the concerto repertoire, the works include: Piano Concerto No. (If a CD is scheduled for re-issue within the next 3-4 months, the message 'To be reissued on …' will replace the 'Buy Archive CD' button.). The Piano Concerto No. "Unser dummer Poebel meint"Andor Foldes, Mozart, W.A.Fantasy in D minor for Piano KV397Lily Dumont, Mozart, W.A.Piano Sonata for 4 Hands in G majorRobert Levin, Mozart, W.A.Eine kleine Nachtmusik (serenade no. It was Mozart’s publisher, rather than the composer himself who provided the subtitle for this piano concerto. The concerto's slow movement proved the concert's highlight, with an especially ruminative treatment of the solo part, and a silken beauty to the string playing that took one's breath away." Piano Concerto No. As he did not yet own a piano, he had to make do with the family’s harpsichord. Mozart himself never aimed at plumbing depths—he told his father the concertos were 'very brilliant' and 'fell agreeably on the ear'—so Tomes's fingerwork, always light and precise, would appear to be made to measure … this disc offers major pleasures and refreshment’ (The Times). In close creative dialogue with the Gaudier Ensemble she brings limpid, subtly coloured tone to the lyrical melodies, makes Mozart's passagework dance and sparkle, and relishes opportunities for sly and witty timing. MP3 £7.99 FLAC £7.99 ALAC £7.99 Buy by post £13.99 (ARCHIVE SERVICE) Studio Master: FLAC 20-bit 44.1 kHz £8.50 ALAC 20-bit 44.1 kHz £8.50 CDH55333 Archive Service Studio Master FLAC … musical elements in piece: musical elements in piece: Instruments are being used: Beat: Strong, Steady Tempo: Allegro (Fast, quickly and bright), Vivace (Lively and fast 132 -140bpm), Assai (very much or quite fast) Meter: 4 / Duple Rhythm: Homophonic- All at the same time with In this appraisal, we review the history of the genre, the reasons for the importance of the 20th concerto and Mozart's own style of playing, and then provide a selective survey of some historically important recordings, concluding with some sources for further information. 24 in C minor, K. 491 is a concertante work for piano, or pianoforte, and orchestra by Wolfgang Amadeus Mozart.Mozart composed the concerto in the winter of 1785–1786 and completed the work on 24 March 1786. Mozart particularly valued some of the latest improvements in what came to be known as the ‘Viennese’ piano. Concerto pour piano nº 12 de Mozart; Piano Concerto No. 12 in A major, K.414 1º movement played by Vladimir Ashkenazy and the Royal Philarmonic Orchestra. In a more general way, connoisseurs would surely have appreciated the manner—sometimes subtle, sometimes direct—in which Mozart manipulates and develops his material. Mozart: Piano Sonata No.12 in F major, K.332. A detailed guide that analyzes the structural, harmonic and thematic frame. «Piano Concerto No. HC. Susan Tomes (piano), The Gaudier Ensemble. 23 in A major, K. 488 Piano Concerto No. Because he hoped to sell the three concertos for home performance with string quartet, he … This service offers a production-quality CDR with printed label, inlay (tray) card and, at the minimum, a 2pp booklet (including cover artwork and complete track listing), packaged in a normal jewel case. And in the style of writing he was also aiming for a broad appeal, as he made clear when describing the concertos in a letter to his father: ‘The concertos are in fact midway between too difficult and too easy—they are very brilliant, fall agreeably on the ear, though of course without becoming trivial. Piano Concerto No. Allegro Assai 12 in A major K 414. A biography published after his death similarly described his exceptional ‘quickness, neatness and delicacy’, and went on to praise ‘the most beautiful, most eloquent expression, and a sensitivity that went straight to the heart’. Performances of particular works in the eighteenth century are reported because the event was important and public, or because someone happens to refer to them in a letter or journal. 00:00 - Allegro 14:13 - Larghetto 22:30 - Allegretto Mitsuko Uchida Jeffrey Tate English Chamber Orchestra 1988 The theatre was full, the Emperor was present, applauded enthusiastically, and ‘against his habit’ stayed for the whole of the concert. Mozart Piano Concerto No. 12 is certainly pleasing to the ear, and anything but vapid. In many instances we will provide complete printed booklets, but please note that this is not always the case. There are few recording pianists to match Susan Tomes for clarity of articulation, and here she leads sparkling performances. 21 in C Major, K. 467 Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756; d. Vienna, Austria / December 5, 1791. This was despite the fact that he had meanwhile scored a great success on two fronts: his opera Die Entführung aus dem Serail was a triumph, and he had firmly established his reputation in Vienna as a performer and composer of concert works. Piano Concerto # 20 in d minor, K. 466 is the most historically popular and influential among his keyboard concertos. 25 in G minorRadio Symphonie Orchester Berlin, Mozart, W.A.Piano Sonata no. A detailed guide that analyzes the structural, harmonic and thematic frame. Haydn, Mozart. 00:00 - Allegro10:31 - Andante18:50 - AllegrettoMurray PerahiaEnglish Chamber Orchestra1979 It must have been very difficult to make sure that a piano was well tuned and adjusted. 12 in F majorAndy Lee, Mozart, W.A.10 piano var. Not that borrowing a piano can have been a straightforward matter. They formed an important milestone in his career, being the first in the series of great concertos that he wrote for Vienna, and the first to be published in a printed edition. The music grows abruptly in volume, with the violins ta… 12 in A major, K. 414 (385p), was written in the autumn of 1782 in Vienna. Piano concerto no. Music-lovers were happy to hear any performance that was pleasing. Mu3107 Materials 5 Dr. C. Ross STRUCTURAL ANALYSIS OF MOZART: PIANO SONATA IN F MAJOR (K. 332); I Mm. Mozart: Piano Concertos Nos 11, 12 & 13. Music-making in the eighteenth century was essentially pragmatic: nobody had rigid ideas about what combination of instruments was right, let alone ‘authentic’. According to a local report: ‘Everything was extraordinary, tasteful and admirable … the rendering on the fortepiano so neat, so clean, so full of expression, and yet at the same time extraordinarily rapid, that one hardly knew what to give attention to first, and all the hearers were enraptured.’. You thought you knew these wonderful, innovative and energetic pieces, but hear afresh and think again! And what passages did Mozart have in mind for the ‘connoisseurs’? Mozart the pianist and Mozart the composer of piano concertos are two sides of the same coin. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. 12 in A Major, K. 414 Mozart arrived in Vienna a little before eight in the morning on March 16, 1781. By offering concertos that could be played either with orchestra or with chamber group, Mozart was trying out the Viennese audience and hoping to attract as wide a circle of music-lovers as possible. Wolfgang Amadeus Mozart's Piano Concerto No. Moreover they give us the opportunity to hear Susan Tomes show her mettle in strong light as concerto soloist—and bring to a wider repertoire the distinct communicative magic that has made her one of the foremost chamber pianists of today. 13 in C Major, K.415; Piano Concerto No. Wolfgang Amadeus Mozart. Most important, the players can respond to each other with the immediacy and sensitivity of chamber-musicians—rare in orchestral performances, and a great advantage in these works in which the subtle interaction between soloist and the other instruments is at the heart of the music’s style and argument. They might have used just a string quartet, as Mozart specifies, or have added a double bass (as in this recording), or perhaps have included wind instruments together with the single strings when they did not have space for a large orchestra. Initially, however, he followed the usual practice of making them available in manuscript copies. Connoisseurs would also have savoured the passages in which Mozart, with a sudden turn of seriousness, shows himself a master of counterpoint, lucidly combining the different strands of his instrumental textures. Mozart’s Piano Concertos in A major, K. 414, and C major, K. 415 This pair of attractive and highly crafted piano concertos from 1782 are among the first such works Mozart composed after moving from Salzburg to Vienna in order to pursue his career as an independent artist. Mozart retains from the homogeneity of the strings a sense of intricacy and allure, as well conjuring the glance-exchanging thrill of chamber-music-making, all of which heightens the piquancy of the dialogue and confrontation between piano and band, while setting the rich sonorities of the piano into greater relief. These features gave the instruments an exceptional precision and expressive flexibility. 3. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript. 15 in B-flat Major, K.450; and Piano Concerto No… It is scored for solo piano (or harpsichord), two oboes, two bassoons (optional), two horns, and strings (consisting of violins, violas, cellos, and double basses). See the, International Music Score Library Project, No. 12, K. 414 in A major, the second of the series, is particularly fine: it is often described as " Tyrolean ", and stands some comparison with the later A major concerto, K. 488. Mozart tried to publish them by subscription, taking a utilitarian approach that would seem out of touch with our notions of high-art music. 12; Pianoconcert nr. Piano Concertos, Musikkollegium Winterthur, See Siang Wong 14 in E-flat Major, K.449; Piano Concerto No. As per 18th century performance practice a string orchestra could also have … No, not another Mozart piano concerto disc! The interventions of the wind and (in the C major concerto) drums are lost, but there is a compensating gain in transparency of texture and buoyancy of rhythm. But they are easy-going in the most elegant and beautifully poised manner. 7 in F major for 3 Pianos, K. 242 (Lodron), No. Here and there only connoisseurs can derive satisfaction, but in such a way that the non-connoisseur will be pleased without knowing why.’ Compared with some of his later concertos—the dramatic D minor, or the tragic C minor—these three concertos are, on the surface at least, easy-going. Bach had died in January 1782, and Mozart wrote to his father, ‘What a loss to the musical world!’ A more indirect influence of J C Bach is apparent in the finale of the F major concerto—the minuet-rondo was a form and style in which Bach excelled. Shortly after arriving in the city, Mozart spent some months as a lodger in the house of the Weber family (one of whom, Constanze, he was to marry the following year). 13 in C Major, K.415; Piano Concerto No. In 1777 he had visited one of the best piano-makers, Johann Andreas Stein, in Augsburg. 14 in E-flat Major, K.449; Piano Concerto No. 9 in E flat major, K. 271 (Jeunehomme), No. A delightful disc’ (The Daily Telegraph), ‘Chamber music at its best—unified, warm, intimate’ (American Record Guide), ‘These works have been recorded in chamber form before, but this time the result is lighter and more intimate than in previous versions, helped by a clear, dry recording acoustic. The Piano Concerto No. Staples of the concerto repertoire, the works include: Piano Concerto No. The CD opens with Piano Concerto No 11 in F major, where the soloist is Marie Kuijken – one of Sigismund Kuijken’s musical offspring, and an acclaimed soprano, too. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Such moments occur frequently in his later concertos, and they call to mind a description of Mozart by his sister-in-law: ‘He answered everything carefully, whether the subject was merry or sad, and yet he seemed to be thinking deeply about something entirely different.’. Pricing is £13.99 per CD, regardless of the original sale price of the disc(s). Section Key(s) Comments; Cadence Types EXPOSITION FIRST GROUP (in PTA) 1-4 PT1, phr 1 F Lyrical R. H. melody, mainly disjunct, supported by Alberti bass; Harmony is I, V7/IV, IV6/4, vii°6, with F pedal point in the bass. Connoisseurs must have relished the opportunity to play these concertos in their chamber-music versions. Mozart surely meant this as an affectionate tribute to an old friend; at the age of eight, he had sat on Bach’s lap, improvising piano duets with him before King George III of England. The F major finale starts almost like a piece of ecclesiastical counterpoint, only beginning to dance like a minuet after a few bars. The climax came in March 1783, when he held his own benefit concert at the Burgtheater. It is scored for solo piano, two oboes, two bassoons (optional), two horns, and strings (consisting of violins, violas, cellos, and double basses). In a long programme, including the recently composed ‘Haffner’ Symphony, he played the third of his three new piano concertos, in C major. Such incidents must have been particularly frustrating for Mozart, because his playing was, in the words of that Augsburg report, ‘full of expression’, and it is clear that his exploitation of the expressive possibilities of the new pianos was the essence of his style as a performer. Allegro maestoso; in common time. 12, K 414 by Mozart This happy coming together of Stein’s pianos and Mozart’s playing was to prove crucial to Mozart’s success when he settled in Vienna in 1781. Adagio 3. Perhaps Mozart had set the price of his earlier manuscript issue too high (as his father warned him). WOLFGANG AMADEUS MOZART: PIANO CONCERTO NO. 27 in B flat major, K. 595, Mozart, W.A.Symphony No. Allegro vivace assai The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. It is precisely the subtle and brilliant qualities of his playing, as described by contemporaries, that are most characteristic of his concerto-writing, and these three concertos K413–415 were designed to demonstrate that to Viennese audiences. Alla Turca 12 in A major, K. 414 (385p) was written in the autumn of 1782 in Vienna. He was most impressed by Stein’s fortepianos, admiring their even tone, the efficiency of their dampers, and the escapement mechanism which ensured that the hammers fell back after hitting the strings. Piano Concerto No. 13)Orchestre Nationale de France, Our dream: to make the world's treasury of classical music accessible for everyone. The A-major Piano Concerto, K. 414, was one of three that Wolfgang Amadeus Mozart (1756-1791) wrote in late 1782 for that winter’s concert season in Vienna, after the success of his opera The Abduction from the Seraglio. Allegro 2. 1. Klavierkonzert; Concerto per pianoforte e orchestra n. 12; Mozart: Zongoraverseny No. 12 in A Major, K.414; Piano Concerto No. 12 in A major Wolfgang Amadeus Mozart 's Piano Concerto No. The concerto has three movements: 1. No, not another Mozart piano concerto disc! Tips and Analysis of Mozart's PIano Concerto 23 in A Major (K488) with further help from Lang Lang Mozart Bust srce: (fotopedia.com) I was asked my teacher which Piano Concerto in entirety should I learn - one of the suggestions is Mozart's Piano Concerto 23 in A Major K488. When Mozart’s father Leopold visited in 1785, by which time Mozart had acquired his own fortepiano (by Anton Walter), he reported that the instrument had been moved out of the second-floor apartment at least a dozen times in the space of a month. They might well have spotted that the opening of the Andante of the A major concerto is a quote from an overture by Johann Christian Bach. 10 in E flat major for 2 Pianos, K. 365, List of compositions by Wolfgang Amadeus Mozart, Wikipedia article "Piano_Concerto_No._12_(Mozart)". For concerts, Mozart was able to borrow on several occasions a Stein fortepiano belonging to Countess Maria Wilhelmine Thun, a highly cultivated woman and a gifted musician, who presided over one of the most important artistic salons in Vienna. Mozart describes one occasion in 1782 when he was obliged to play to the Emperor on a piano which was out of tune, and had three notes sticking—‘Never mind’, said the Emperor, and Mozart had to make the best of it. 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