Name: Mozart - Piano Concertos Nos 9 & 25; Rondo in A, K386 [Audio CD]
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SKU: B000JBXIH2
Price: 8.0 CAD
Availability: OutOfStock

Mozart - Piano Concertos Nos 9 & 25; Rondo in A, K386 [Audio CD]

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BARCODE: 880040401322

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In these years surrounding the 250th anniversary of Mozart s birth, the legacy of this extraordinary composer is being reappraised. Words such as genius and prodigy are commonplace, but as to reception, the issues surrounding the ways we perceive the nature of Mozart s music are surprisingly divisive. For many, it epitomises genteel perfection; ordered, periodic, even polite. And if we prepare to listen to his music expecting these attributes, then this is probably what we will hear. Yet there are also those who emphasise the less comfortable facets of Mozart s work: controversial innovation (as in the Dissonance Quartet, K465); barely reigned-in chaos, as in the fugal finale of the Jupiter Symphony K551; and profound pathos, as in the slow movement of the Piano Concerto K271, which opens this disc. This concerto represented a turning point in both Mozart s output and the development of the form. Written in 1777, it may have been inspired by the recent visit to Salzburg of a French pianist, Mademoiselle Jeunehomme. In this concerto, Mozart tackled head-on the issue of how to create the right dramatic balance between soloist and orchestra at the outset. In the words of Charles Rosen: At the age of twenty, with what may be considered his first large-scale masterpiece in any form, Mozart solved this problem in a manner as brutal and as simple as breaking the neck of a bottle to open it. At the opening of the Concerto in E flat K. 271, the piano participates as a soloist in the first six measures, and is then silent for the rest of the orchestral exposition. It was a solution so striking that Mozart never used it again . This unique opening is the first of many remarkable features in this movement. For nearly 50 bars of the orchestral introduction Mozart omits the pitch of D flat, saving it for a climactic held note, resolving onto F minor and followed by a dramatic pause. When the piano re-enters (with a long trill and seemingly early!), its role is both to trace this preceding material, and to transform it. The music modulates as the soloist displays scintillating technique, at times with crossed hands, repeatedly reaching the highest available pitch on Mozart s piano. The development begins by taking the key to F minor, and the climax of the whole movement is marked by recurrent D flats in the orchestra, resolving onto F minor chords. This key area, the backbone of much of the movement s harmonic tension, is finally resolved in an epilogue to the main development, but the insistent D flats return to haunt the recapitulation, at last resolved by a recitative-like phrase from the piano. The expansive slow movement, which also adapts devices from operatic aria and recitative, is one of the most heart-breaking pieces Mozart ever wrote. The orchestra s long, arch-shaped opening phrase, with first and second violins in canon, is divided irregularly into seven and nine bars. The piano enters, decorating the initial material before modulating to the relative major and shifting between major and minor with great poignancy. Mozart s pacing of this movement is beautifully judged; not until the recapitulation do we hear the strings without mutes as they reach the forte climax. The opening canonic texture is reprised, this time as a dialogue between piano and first violins, their speech-like rhythms accentuating the impression that we are hearing a melancholy conversation between soloist and orchestra.

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