17–22 in full score. Mozart family copy, St Peter's, Salzburg; performance copy in. The fortepianos were of course much quieter instruments than the modern concert grand piano, so that the balance between the orchestra and soloist may not easily be reproduced using modern instruments, especially when small orchestras are used. 24 in C minor, K. 491, are in minor keys. Of the following listing, only multi-movement works for piano and orchestra are included. Similarly, a few of the slow movements have sometimes been considered repetitive (e.g., Hutchings' view of the Romanzas in general, and that to No. These three concertos are all rather different from one another and are relatively intimate works despite the mock grandeur of the last one: indeed, arrangements exist for them for piano plus string quartet that lose little. Mozart's own ability to improvise was famous, and he often played from very sketchy piano parts. Broder, N. 1941. 21 in C major, K. 467 Orchestra filarmonica della Scala Maurizio Pollini Riccardo Muti 2004 13, K. 415, is an ambitious, perhaps even overambitious work, that introduces the first, military theme in a canon in an impressive orchestral opening: many consider the last movement the best. 24, K. 491), but in practice pianists, if only to finish playing at the end, sometimes accompany. 9 in E-flat Major (Jeunehomme), K. 271; from a 1954 recording featuring pianist Clara Haskil and the Vienna Symphony Orchestra conducted by Paul Sacher. When Beethoven first came to Vienna shortly after Mozart’s death, Mozart’s concerti figured prominently in his concert repertoire. brief cadenza-like passages leading into returns of the main theme in a rondo) were extensively improvised by him during performance. 12 (K. 414) onwards. Although these articles may currently differ in style from others on the site, they allow us to provide wider coverage of topics sought by our readers, through a diverse range of trusted voices. On March 25th and April 8th. He did, however, write, in the spring of that year, a replacement rondo finale in D major, K. 382 for No. For example, K. 488 in A major lacks new expositional material, and "merely" repeats the preludial material; further, it effectively merges the first ritornello and the middle section, as does K. 449 in E♭. Beethoven's first three concertos also show a Mozartian influence to a somewhat lesser extent; this is also true of Carl Maria von Weber, J.N. He wrote his first piano concerto at the age of 11, and his last less than a year before his death. With the exception of the two exceptionally fine early concertos K. 271 (Jeunehomme) and K. 414 (the "little A major"), all of his best examples are from later works. In all of these works, the embellishments appear in the first editions published under Mozart's guidance, with the suggestion that they represent examples of embellishments for lesser pianists than himself to follow. Third movement, “Rondo,” of Mozart's Piano Concerto No. In his Foreword to the 1997 edition of Hutchings. Conversely, in the Mozartian concept, the piano entry is always a moment of great importance, and he varies it considerably from concerto to concerto. Most of them are marked Andante, but he himself marked at least the poignant F♯ minor (K. 488) one Adagio, presumably to stress its pathetic nature rather than to dictate a particularly slow speed. Despite its structural problems, it remains popular. Mozart, W. A. So it would fall to Mozart (1756–91) to be the first composer to show what the instrument could really do, especially when combined with orchestra. 25 in C Major, K. 503; from a 1947 recording featuring pianist Edwin Fischer and the Philharmonia Orchestra conducted by Josef Krips. Mozart clearly valued the concertos, some of which he guarded carefully. In the meantime, more information about the article and the author can be found by clicking on the author’s name.