This profomence is absolutely brilliant, this piano concerto is such a gemstone light but also very powerful , always makes me feel so much better and happy, we are so very lucky, that Mozart composed so many peace's of beautiful music this concerto is one of his best.
great to have a recording that actually respects the composer's instruction at the beginning, namely It took a long time to achieve this. The tempi are fine, the music chuckles and enjoys itself. It's certainly not too fast, actually quite restrained. Well done, everyone who made this recording possible. Even the cadenzas are Mozart's own. A bit more info about the fortepiano used would be helpful.
It was said that M. performed this Klavier concerto in F-major (Nov/Dec 1784) first during one of his Lenten Subscription Concerts in Vienna in Feb-March 1785 when his father Leopold Mozart was visiting his son at the luxurious Landstrasse 6-room flat (now, Domgasse 5, Wien 1010) which ‘brought tears to mine eyes from the harmonious interplay of the wind instruments’ - this (along with K. 537) was also taken with him to Frankfurt in Sept-October 1790 (to which score he ‘added 2 trumpets & drums in F’ - the extra parts of which have been lost in autograph but could be reconstructed fairly accurately by any competent musicologist (or AI programme) made familiar with Mozart’s 1784-1791 own particularly ‘reticent’ stile-of-writing for these instruments) - M. may have performed all of his concertos for Klavier written especially for his subscription concerts in Vienna (1785-1786) on his own Walter Klavier, as Leopold wrote to his daughter Nannerl in March 1785: ‘Your brother’s own personal Klavier has been carted off by piano movers at least a dozen times since I’ve arrived-either to the Theatre or to the Opera House or to some nobleman’s salon chamber- you can’t imagine all the bustle around him…I can hardly find a moment’s quiet to hear myself think !’ This same Walter Klavier had a special organ-pedal string-board attachment of 4 octaves (bass c to c’) affixed to the floor which ‘acted almost like a second fortepiano’ according to his English composition pupil Thomas Attwood (who studied harmony & counterpoint with M. between 1 August 1785 through 3 March 1787) and saw & heard this specially-made ‘Klavier extension’ played by M. himself- This organ-like pedal [‘2nd klavier’] attachment was among his personal effects listed by estate lawyers after his death - and certainly would have provided a much ‘fuller-sound’ for larger Viennese concert halls such as an Opera House or outdoor venues like the Prater or the Mehlgrub where a forte-piano like Mozart’s (c. 1783) instrument would probably not be able to be fully heard or appreciated by the subscribers who paid good money in advance to hear the maestro rattle-off so many incomparable musical masterpieces …
Staier / Koln is faster at MM minim ~ 84, and his reading of the K 459 is my favourite, as no one else brings such delight to the 6-measure passage marked at the timestamp here: ruclips.net/video/YbYnLEDm3M0/видео.htmlm57s
![Mozart - Symphony No. 39 in E flat, K. 543 [complete]](http://i.ytimg.com/vi/H0x_dCrKd4w/mqdefault.jpg)
This profomence is absolutely brilliant, this piano concerto is such a gemstone light but also very powerful , always makes me feel so much better and happy, we are so very lucky, that Mozart composed so many peace's of beautiful music this concerto is one of his best.
great to have a recording that actually respects the composer's instruction at the beginning, namely
It took a long time to achieve this.
The tempi are fine, the music chuckles and enjoys itself. It's certainly not too fast, actually quite restrained.
Well done, everyone who made this recording possible.
Even the cadenzas are Mozart's own.
A bit more info about the fortepiano used would be helpful.
indeed
It was said that M. performed this Klavier concerto in F-major (Nov/Dec 1784) first during one of his Lenten Subscription Concerts in Vienna in Feb-March 1785 when his father Leopold Mozart was visiting his son at the luxurious Landstrasse 6-room flat (now, Domgasse 5, Wien 1010) which ‘brought tears to mine eyes from the harmonious interplay of the wind instruments’ - this (along with K. 537) was also taken with him to Frankfurt in Sept-October 1790 (to which score he ‘added 2 trumpets & drums in F’ - the extra parts of which have been lost in autograph but could be reconstructed fairly accurately by any competent musicologist (or AI programme) made familiar with Mozart’s 1784-1791 own particularly ‘reticent’ stile-of-writing for these instruments) -
M. may have performed all of his concertos for Klavier written especially for his subscription concerts in Vienna (1785-1786) on his own Walter Klavier, as Leopold wrote to his daughter Nannerl in March 1785:
‘Your brother’s own personal Klavier has been carted off by piano movers at least a dozen times since I’ve arrived-either to the Theatre or to the Opera House or to some nobleman’s salon chamber- you can’t imagine all the bustle around him…I can hardly find a moment’s quiet to hear myself think !’
This same Walter Klavier had a special organ-pedal string-board attachment of 4 octaves (bass c to c’) affixed to the floor which ‘acted almost like a second fortepiano’ according to his English composition pupil Thomas Attwood (who studied harmony & counterpoint with M. between 1 August 1785 through 3 March 1787) and saw & heard this specially-made ‘Klavier extension’ played by M. himself-
This organ-like pedal [‘2nd klavier’] attachment was among his personal effects listed by estate lawyers after his death - and certainly would have provided a much ‘fuller-sound’ for larger Viennese concert halls such as an Opera House or outdoor venues like the Prater or the Mehlgrub where a forte-piano like Mozart’s (c. 1783) instrument would probably not be able to be fully heard or appreciated by the subscribers who paid good money in advance to hear the maestro rattle-off so many incomparable musical masterpieces …
Now I'm angry that I cant find a version with the extra 2 trumpets and the timpani
Thank you for writing this. Quite a delightful and informative read.
THank you, European people and culture.
Inimitable concerto. Outstanding performance.
yes indeed
Absolute delight! 🙏🏻
This is a very, very good performance.
I’m back with my Gabby!
Schumann took the starting melody of the finale for is Carnaval.
Who did the painting 🎨??????
j
Maestro performers but 1st movement is way too fast.
Staier / Koln is faster at MM minim ~ 84, and his reading of the K 459 is my favourite, as no one else brings such delight to the 6-measure passage marked at the timestamp here: ruclips.net/video/YbYnLEDm3M0/видео.htmlm57s
More like slightly faster than Anda's.
I think the tempo is perfect.
It's allegro vivace! It's supposed to be fast! Do you want a lullaby? If so go listen to those disgraceful recordings by Perahia and Uchida.