Premier des concertos de Mozart à recourir aux clarinettes dans l'orchestration d'origine, son vaste premier mouvement, superbement inspiré et varié, réalise une alliance merveilleuse entre force vitale (sensible surtout dans les tutti orchestraux) et chaleur humaine (omniprésente dans la partie soliste). He goes on to invoke the inherent drama of conflict and reconciliation between opposing forces as symbolic reflections of the tension that shapes society. Several modulations of the second theme (in A minor and G minor) follow. 20; Serenata Notturna; Symphony No. catch(e) {Xt_r = document.referrer; } In one of the few recordings that seem to reflect this, Frederich Gulda constantly surges ahead of the Vienna Philharmonic led by Claudio Abbado (DG) with bold, assertive phrasing. A May 1954 Lugano concert by Yvonne Lefébure and the Berlin Philharmonic led by Wilhelm Furtwängler (Ermitage) presents a fascinating melding of two different outlooks. He had finished his previous piano concerto, no 19, in December 1784. ». Mozart, âgé de 29 ans, vit depuis trois ans à Vienne avec sa femme Constance Weber, mais les commandes, notamment d'opéras, se font rares. After a similarly thoughtful romanze, the normally-paced finale sounds breathless. A fascinating complement is found in a November 1939 Walter broadcast with the NBC Symphony (AS Disc) that's swift, crisp and taut – no wonder, as this was Toscanini's orchestra, accustomed to casting sentiment aside in sharp response to his demanding baton. While conductor Alfred Wallenstein keeps a fairly brisk pace, their 1961 recording with the RCA Symphony (BMG) is in the dubious tradition of a respectful but ultimately shallow view of Mozart, with massive string sonorities dominating the ensemble and a steadfast, mellow tone attenuating the effect of the solo passages. C. M. Girdlestone summarizes the net impact as creating a satisfying psychological drama of strife and competition that ends in collaboration and reconciliation. 111. 2, Mozart: Piano Concertos Nos. 27, K595, Mozart: Piano Concertos Nos. Mozart: Piano Concerto No. 14, 20 & 25 [Video], Mozart: The Collector's Edition [Box Set], Haydn: 4 Piano Sonatas; Mozart; Piano Concerto No. During one spell of little more than five weeks he appeared at 22 concerts, mainly in the homes of the nobility but including five concerts of his own. 20 K.466; Sonatas K.281 & K.332, Mozart: Piano Concerto No. 20, KV466 & 23, KV488, Mozart: Legendary Interpretations by Rudolf Serkin, Mozart: Concertos Nos. 3 [Complete Mozart Edition], The Prague Spring Festival: Legendary Broadcast Recordings (1947-1968), Mozart: Complete Piano Concertos (250th Anniversary Edition), Mozart: Concertos pour piano Nos. 12 K414, Murray Perahia: The Complete Analogue Recordings 1972-1980 Remastered, Complete Recordings on Deutsche Grammophon, Martha Argerich, Vol. Hocquard Jean-Victor, Mozart, de l’ombre à la lumière. By adding a over a minute to the routine timings of each of the first two movements, Barenboim created a serious, even severe aura through tempo alone, as the sonority is bright, the ensemble light and the playing agile, if gently inflected with mildly emphatic pauses (except for an ample deceleration to prepare for Beethoven's first movement cadenza, which sounds appropriately dark and probing in such a setting) – more like commas than semi-colons to suggest rather than mark the structure. 20; etc. 21 in C major; Don Giovanni Overture, Mozart: Concerto, No. 3; Rondo, Mozart: Klavierkonzerte Nr. 20, K466 / Scarlatti: 11 Sonatas, Mozart: Piano Concerto No. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript. The piece ends with an ascending arpeggio that is light and delicate, gradually until it becomes a faint whisper. Donate to help cover our costs, Foreign aid is a shocking waste of money – and I should know, Who benefits from the Tories’ Green Deal? Among Mozart's piano works, none are explicitly written with a part for a pedal-board. Throughout the rest of the first ritornello, the orchestra alternately teases with soft, alluring phrases, only to reject its own suggestion of calm with brash outbursts of snarling fanfares and assertive figures. 20, Mozart: The Great Piano Concertos, Vol. Of primary value in preparing this piece were Alfred Einstein: Mozart - His Character and His Work (Oxford, 1945), Abraham Veinus: The Concerto (Doubleday, 1945), Charles Rosen: The Classical Style (Norton, 1971), C. M. Girdlestone: Mozart's Piano Concertos (Cassell, 1948), Harold Schonberg: The Great Pianists (Simon & Schuster, 1963), Arthur Hutchings: A Companion to Mozart's Piano Concertos (Oxford, 1948) and the article "Mozart's Piano Concertos and their Audience" by Joseph Kerman in James M. Morris (ed): On Mozart (Cambridge Press, 1994). Indeed, Richard Westerberg asserts that the key to Mozart's humanity, as reflected in his music, is that every happy musical idea contains sadness and all the sad ones bring a measure of hope. The finales are rondos, in which orchestra and solo alternate sections in a collaboration that moves toward an invigorating and fully edifying finish. Here is No 20 played by Seong-Jin Cho from South Korea in the 2011 International Tchaikovsky Competition in Russia when he was 17. The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with the composer as the soloist. 20, 23, 24, 26 & 27, Mozart: The Piano Concertos; Rondos, K.382 & 386 [Box Set], Mozart: Piano Concerto K. 466 & K. 467 "Elvira Madigan", Mozart: Piano Concertos No2. 20 K.466, Mozart: Piano Concertos No. A special concern is the matter of continuo. The first movement was played in the ballet scene in Series 1 Episode 8 of the television series Mr. 17, 20, 22 & 24, Mozart: 13 Concertos pour piano; Les Sonates pour piano, Mozart: Complete Fortepiano Concertos [Box Set], Mozart: Complete Solo Clavier-Concerte [Box Set], Mozart: Klavierkonzert No. Thus, Schubert saw Mozart as giving us a picture of a better world, and H. C. Robbins Landon finds in Mozart nothing less than "an excuse for mankind's existence and a small hope for our ultimate survival.". 20 in D Minor (K. 466), Mozart, who was the soloist and conductor, used his own piano, equipped with a pedal-board. As Charles Rosen observes, it and only a handful of other work (mainly Don Giovanni and the Symphony # 40 in g minor, K. 550) cemented a perception of Mozart as the harbinger of the coming age of romantic composers at a time when his outward grace obscured his power, even though by comparison it tended to push his other work (as well as nearly everything by Haydn) into the background, and even eclipsing all his other concerti that we now revere as well. However, according to Leopold's report, at the first performance of Piano Concerto No. 20, Mozart: Symphony No41; Concertos for piano No20, Piazzini Meets Mozart [DVD Audio & Video], R. Strauss: Four Last Songs; Mozart: Piano Concerto No. In any event, Arthur Hutchins warns that since we don't know how long a given work gestated before it appeared, a precise set of stimuli is impossible to trace. L'œuvre, où passe un souffle avertisseur de Beethoven, évolue de l'orage à l'accalmie, de l'anxiété à l'espérance, avec des contrastes beaucoup plus marqués qu'auparavant. Piano Concerto in A Major, K. 488, II. On notera qu'avec le Concerto pour piano en ut mineur (K.491), c'est le seul autre concerto pour piano (parmi les 27 du compositeur) écrit dans un mode mineur, ce qui rend bien compte du caractère particulier de l'œuvre. 20; Rachmaninoff: Piano Concerto No. The solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant finish. À propos - contact |  Sombre, tourmenté et passionné, le vingtième, K 466 en re mineur, s'est acquis une immense notoriété qui, depuis le xixe siècle, en fait LE concerto vedette du compositeur. How did he play his own work? The music grows abruptly in volume, with the violins ta… After two arias by a singer from the Italian opera, there "came a new, superb piano concerto by Wolfgang, which the copyist was still writing when we arrived, and the rondo of which your brother hadn't time to play because he had to revise copies [of the orchestral parts]." Mozart: Piano Sonata No.11 in A major, K.331 Analysis. 20, 21 'Elvira Madigan' & 22, Murray Perahia x2: Mozart Piano Concertos Nos. 5, Mozart: Piano Concertos 17, 20, 22, 24, 25; Sonatas 10 & 11; Rondo KV 382, Mozart: Piano Concertos No.