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Mozart: Piano Concertos Nos. 7, 10 and 15

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Wolfgang Amadeus Mozart (1756 -1791) Piano Concerto in B Flat Major, K. 450 Piano Concerto in F Major, K. 242 'Lodron' Piano Concerto in E Flat Major, K....

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Wolfgang Amadeus Mozart (1756 -1791)

Piano Concerto in B Flat Major, K. 450

Piano Concerto in F Major, K. 242 'Lodron'

Piano Concerto in E Flat Major, K. 365

The solo concerto had become, during the eighteenth century, an important vehicle for composer-performers, a form of music that had developed from the work of Johann Sebastian Bach, through his much admired sons Carl Philipp Emanuel and Johann Christian, to provide a happy synthesis of solo and orchestral performance. Mozart w rote his first numbered piano concertos, arrangements derived from other composers, in 1767, undertaking further arrangements from Johann Christian Bach a few years later. His first attempt at writing a concerto, however, had been at the age of four or five, described by a friend of the family as a smudge of notes, although, his father claimed, very correctly composed. In Salzburg as an adolescent Mozart wrote half a dozen piano concertos, the last of these for two pianos after his return from Paris. The remaining seventeen piano concertos were written in Vienna, principally for his own use in the subscription concerts that he organised there during the last decade of his life.

The second half of the eighteenth century also brought considerable changes in keyboard instruments, as the harpsichord was gradually superseded by the fortepiano or pianoforte, with its hammer action, an instrument capable of dynamic nuances impossible on the older instrument, while the hammer-action clavichord from which the piano developed had too little carrying power for public performance. The instruments Mozart had in Vienna, by the best contemporary makers, had a lighter touch than the modern piano, with action and leather-padded hammers that made greater delicacy of articulation possible, among other differences. They seem well suited to Mozart's own style of playing, by comparison with which the later virtuosity of Beethoven seemed to some contemporaries rough and harsh.

In February 1784 Mozart began to keep a list of his compositions, the first entry in his catalogue the E flat major Piano Concerto, K. 449, and the autograph carries the same date, 9th February. The Concerto in B flat, K. 450, is entered as completed on 15th March and the Concerto in D major, K. 451, under 22nd March.

The B flat Concerto, K.450, shares its opening theme between wind instruments and strings, the soloist capping the orchestral exposition with a show of dexterity before proceeding to his own version of the principal theme and a solo part that makes use of the widest range of the keyboard. There is an E flat major slow movement which allows the soloist further opportunity for lyrical brilliance in variations on the theme, and a final rondo based on a cheerful principal theme.

The Concerto in F, K. 242, known sometimes as the Lodron Concerto, was written in February 1776 and designed for Countess Antonia Lodron and her daughters Aloisia and Josepha, with due allowance, in the original version, for the limited technique of the younger girl. Mozart later arranged the work for two pianos. It formed part of his repertoire on the journey to Paris and he played the second piano part himself in Augsburg, his father's native city, in October 1777, when the Augsburg cathedral organist Johann Michael Demmler played the first part and the distinguished instrument-maker Andreas Stein the third. It was played in Mannheim in March 1778, two days before Mozart and his mother left for Paris, the performers being Rose Cannabich, daughter of the director of instrumental music in Mannheim, Aloisia Weber, the young singer on whom Mozart had at the time set his heart, and Therese Pierron Serrarious, daughter of the Mannheim Privy Court Councillor, in whose house Mozart was staying. The Lodrons were people of some importance in Salzburg. Countess Antonia Lodron, before her marriage Countess Arco, was the wife of the hereditary Court Marshal Count Ernst Lodron, and a woman about whom Leopold Mozart had his own reservations when he found himself inveigled into giving her daughters lessons.

The concerto is a work of considerable charm and even brilliance, in spite of the relatively limited circumstances of its composition, intended for three amateurs, rather than the very much more professional performers it had in Augsburg and, we must suppose, in Mannheim. Mozart shows his genius, as other composers have done, in writing within these restrictions of technique, reminding us, in the words of Goethe, that in der Beschrankung zeight sich erst der Meister. There is an elegant interplay between the three keyboard instruments and the work is scored, otherwise, for the usual orchestra, with pairs of oboes and horns. The strings are muted in the slow movement, and in the final rondo, in the speed of a minuet, the Countess and occasionally her eider daughter are allowed to shine in solitary prominence.

The E flat double concerto, K. 365 offers balanced and well-matched solo parts. There was no need to make any concession to the undoubted abilities either of Nannerl Mozart or of Josephine von Auernhammer, whatever view Mozart might have held of the physical attributes of the latter. As usual the appearance of the soloists is delayed until after an orchestral exposition, followed by the entry of the soloists on an E flat trill, after which they take it in turns to announce the principal theme again and to proceed to music in which they have the main share of themes to themselves.

The B flat slow movement touches on more sombre thoughts in a brief excursion into C minor, but a mood of graceful serenity prevails over any lurking sense of tragedy, for which the time had not yet come. The final rondo is introduced by the orchestra with the principal theme, which is followed by the soloists with different material. The re-appearance of the principal theme is followed by a section in C minor, after which the second piano leads the way back to the main theme. Further developments follow before the theme is re-introduced, ushering in a cadenza and the soloists' repetition of the theme, before the concluding remarks of the orchestra.

Jeno Jano

Jeno Jano was born at Pecs, in south Hungary, in 1952. He started to learn the piano when he was seven and later studied at the Ferenc Liszt Academy of Music under Katalin Nemes and Pal Kadosa, becoming assistant to the latter on his graduation in 1974. Jano has won a number of piano competitions in Hungary and abroad, including first prize in the 1973 Hungarian Piano Concours and a first prize in the chamber music category at the Sydney International Piano Competition in 1977. In addition to his many appearances in Hungary, he has played widely abroad in Eastern and Western Europe, in Canada and in Japan. He is currently engaged in a project to record all Mozart's piano concertos and sonatas for Naxos. Other recordings for the Naxos label include the concertos of Grieg and Schumann as well as Rachmaninov's Second Concerto and Paganini Rhapsody and the complete piano sonatas of Beethoven.

Denes Varjon

Denes Varjon was born in Budapest in 1968 and studied there under Sandar Falvai at the Academy of Music, where he now serves as a demonstrator in the Piano Department. He has taken part in master-classes in Hungary and abroad under the most distinguished teachers, and recent prizes include the 1991 award of first prize in the Geza Anda Piano Competition in Zurich. He has appeared as a recitalist and soloist throughout Europe, and far three seasons in the Prussia Cove Open Chamber Music. At home he is a frequent performer for Hungarian Radio.

Concentus Hungaricus

The Concentus Hungaricus was established in February 1985 by Peter Popa and consists of leading members of the Budapest Symphony Orchestra under the co-leadership of Ildiko Hegyi and Pal Andrassy. The 16 member ensemble has worked with leading Hungarian and foreign musicians, including Vilmos Tatrai, Andras Mihaly, Miklos Perenyi, Denes Kovacs, Jeno Jano, Gyorgy Pauk and Viktoria Jagling, and performs frequently at home and abroad. The repertoire of the group ranges from Purcell and Corelli to Schoenberg, Bartok and Alban Berg, while recordings include extensive studio work and releases by Hungaroton and Naxos.

Matyas Antal

Matyas Antal was born in 1945 into a family of musicians and completed his training at the Ferenc Liszt Academy in Budapest as a flautist and a conductor . In 1972, the year after his graduation, he joined the Hungarian State Orchestra as a flautist, but in the last ten years has been principally employed as a conductor, specialising initially in contemporary music. In 1984 he was appointed chorus-master of the Budapest Choir and two years later became associate conductor of the Hungarian State Orchestra. He appears frequently as a conductor in his native country as well as in East and West Germany, Austria and Greece, and has made a number of recordings for Hungaroton.

Disc 1

Piano Concerto No. 15 in B flat major, K. 450

(more info)

Performed by: Concentus Hungaricus Milan Pomeriggi Musicali Symphony Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Matyas Antal Ettore Gracis
Jeno Jando, piano
Arturo Benedetti Michelangeli, piano
Denes Varjon, piano
Recording date: 26-27 June 1951

Allegro - 10:39
Andante - 5:59
Allegro - 7:46

Concerto for 3 Pianos in F major, K. 242, "Lodron"

(more info)

Performed by: Salzburg Hofmusik Concentus Hungaricus CBC Radio Orchestra Royal Philharmonic Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Mario Bernardi Matyas Antal
Derek Han, piano
Wu Han, piano
Peter Asimov, piano
Wolfgang Brunner, fortepiano
Florian Birsak, piano
Leonore von Stauss, fortepiano
Jon Kimura Parker, piano
Ian Parker, piano
Jeno Jando, piano
Massimo Quarta, violin
Denes Varjon, piano
James Parker, piano
Recording date: 7-10 January 1991

Allegro - 8:38
Adagio - 8:30
Rondeau: Tempo di Menuetto - 5:49

Concerto for 2 Pianos in E flat major, K. 365

(more info)

Performed by: Norwegian Chamber Orchestra Salzburg Hofmusik Concentus Hungaricus London Symphony Orchestra Hungarian State Orchestra CBC Radio Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Aachen Symphony Orchestra
Composed by: Wolfgang Amadeus Mozart Neville Marriner
Conducted by: Adrian Boult Janos Ferencsik Mario Bernardi Iona Brown Matyas Antal Marcus Bosch
Derek Han, piano
Wu Han, piano
Zoltan Kocsis, piano
Dezso Ranki, piano
Wolfgang Brunner, fortepiano
Florian Birsak, piano
Artur Schnabel, piano
Jon Kimura Parker, piano
Havard Gimse, piano
Jeno Jando, piano
Massimo Quarta, violin
Guher Pekinel, piano
Suher Pekinel, piano
Anna Walachowski, piano
Ines Walachowski, piano
Karl Ulrich Schnabel, piano
Vebjorn Anvik, piano
Denes Varjon, piano
James Parker, piano

Allegro - 9:51
Andante - 7:17
Rondeau: Allegro - 7:11

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Composer(s):
Mozart, Wolfgang Amadeus

Conductor(s):
Antal, Matyas

Orchestra(s):
Concentus Hungaricus

Artist(s):
Jando, Jeno; Varjon, Denes

Label: Naxos Classics
UPC: 730099521024
Item Number: 8550210
Release Date: Nov 20, 1991