Mozart: Piano Concertos No. 9 & 12 on Period Instruments

Featuring

Paul Badura-Skoda
Musica Florea Prag
Wolfgang Amadeus Mozart

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Compositional Technique

In the Piano Concerto No. 9, K 271, Mozart achieves a unique integration between the piano and orchestra, with the solo piano acting as both protagonist and an equal member of the ensemble.

Compositional Technique

The second movement of Mozart's Piano Concerto No. 12, K 414, borrows its main theme from the overture to Johann Christian Bach's opera 'La Calamità dei cuori' as an elegy for his recently deceased friend.

Compositional Technique

The Piano Concerto No. 9, K 271, features an astonishing entry of the soloist in the second measure, an effect Mozart never repeated in his other concertos.

Composition History

Mozart's Piano Concerto No. 9 in E-flat major, K 271, was composed in Salzburg in January 1777 for Mademoiselle Louise Victoire Jenamy, a pianist and daughter of ballet master Jean Georges Noverre, a friend of the Mozart family.

Composition History

Mozart's Piano Concerto No. 12 in A major, K 414, is the first of a group of three chamber concertos composed in Vienna in 1782, which could be performed with varying instrumentation, including as a piano quintet without winds.

Composition History

The Piano Concerto No. 9 in E-flat major, K 271, was erroneously known as the 'Jeunehomme' Concerto for many years due to a misidentification by musicologists in 1912, a mistake corrected in 2003 by Viennese researcher Michael Lorenz.

Composer's Artistic Vision

Mozart described his concertos K 413, 414, and 415 as a 'happy medium between what is too easy and too difficult,' designed to please both connoisseurs and less learned listeners.