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Brilliant Classics Mozart: Piano Concertos Piano Concerto No. 17 In G Major K 453 - Wolfgang Amadeus Mozart - The Great Piano Concertos of St. The Norton Recordings Various Artists. AAO Music. Finally, the vast majority of performances of Mozart piano concertos heard today are recorded rather than live, with the net effect of flattering the piano's sound i. Nevertheless, continuo playing has discreetly appeared in some modern recordings of the fortepiano with success, or at least, lack of intrusion see discography, below.
However, against this must be set the fact that Mozart's own cadenzas are preserved for the majority of the concertos, and may have existed for others e.
On the other hand, the cadenzas were not supplied as part of the concerto to the publishers, and it would no doubt have been expected that Zoricino Kolo - Vlada Todosijević* - Ljiljino Kolo pianists would supply their own.
As might be expected, opinion is sharply divided, with some commentators notably Hutchings strongly urging the use of Mozart's own cadenzas when available, and when they are not available, for cadenzas to be similar to Mozart's, especially as far as They Will Call Us Savages - Hell Is For Heroes - Transmit Disrupt goes i.
The sorts of problems that exist are exemplified by the cadenzas written Parents - LANY - LANY the young Beethoven for No. Perhaps the most controversial aspect of the concertos is the extent to which Mozart or other contemporary performers would have embellished the piano part as written in the score.
Mozart's own ability to improvise was famous, and he often played from very sketchy piano parts. Manuscript evidence exists to suggest that embellishment did occur e. Inevidence was published from two brothers, Philipp Karl and Heinrich Anton Hoffmann, who had heard Mozart perform two concertos, Nos 19 and 26 K. Philip Karl reported that Mozart embellished his slow movements "tenderly and tastefully once one way, once another according to the momentary inspiration of his genius", [ citation needed ] and he later published embellished Mozart slow movements to six of his later concertos K.
Mozart himself wrote to his sister in agreeing with her that something was missing in the slow movement of K. Peters Archabbey, Salzburg see location of autographs below ; presumably the part he sent her. In all of these works, the Piano Concerto No. 17 In G Major K 453 - Wolfgang Amadeus Mozart - The Great Piano Concertos 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.
However, to many admirers of the concertos, it is exactly these sparse points that are so beautiful, and the establishment of the autographs as the texts for the concertos has made many pianists reluctant to depart from them. Nevertheless, the existence of these Mozartian additions and of several other embellished versions published early in the 19th century suggests that the expectation would be that especially slow movements would be embellished according to the taste or skill of the performer, and thus that the versions most commonly-heard today would not reflect how the original listeners in general experienced these works.
Among all concertos, only two, No. The concertos in major keys were undervalued in the 19th century. Clara Schumann 's concert repertoire contained Piano Concerto No.
17 In G Major K 453 - Wolfgang Amadeus Mozart - The Great Piano Concertos the D minor, the C minor, and No. He writes that "overtly Piano Concerto No. 17 In G Major K 453 - Wolfgang Amadeus Mozart - The Great Piano Concertosdramatic and impassioned", it was an antecedent of Beethoven and "appealed directly to the romanticized taste of the 19th century.
The D-minor concerto has remained highly appreciated, but it now shares honors with many other of the concertos. Mozart's development of the piano concerto created a complex form that was arguably never surpassed. Of the later composers especially after Beethoven, who noted Mozartian procedureonly Brahms paid attention to his classicism as expressed in the formal structure of these works. Their value as music and popularity does not, naturally enough, rest upon their formal structure though but on the musical content.
Mozart's piano concertos are filled with assured transition passages, modulationsdissonancesNeapolitan relationships and suspensions. This technical skill, combined with a complete command of his admittedly rather limited orchestral resources, in particular of the woodwinds in the later concertos, allowed him to create a variety of moods at will, from the comic operatic nature of the end of K.
In particular, these major works of Mozart could hardly fail to be influenced by his own first love, i. Mozart clearly valued the concertos, some of which he guarded carefully.
For example, No. The qualities of the piano concertos have become more fully appreciated in the last 50 years or so. The list of notable names that have contributed cadenzas to the concertos e. Beethoven was clearly impressed by them: even if the anecdotal story about his comments to Ferdinand Ries about No. Despite their renown, the Mozart piano concertos are not without some detractors. Even amongst his mature examples, there are examples of movements that can be argued to fall short of his normally high standards.
This is particularly true for some of the last movements, which can appear too light to balance the first two movements — an example being the last movement of No. Girdlestone considered that even popular movements such as the last movement to No. Similarly, a few of the slow movements have sometimes been considered repetitive e.
Today, at least three of these works Nos. The first four concertos are only orchestrations of works by other composers; Gutmann calls these " juvenilia. With these exceptions, Gutmann writes of Mozart that "all of his mature concertos have been acclaimed Salut - Nudis Verbis masterpieces".
The discography for Mozart's piano concertos is massive. In recent years, a number of more or less complete sets of the concertos have been released; these include:.
Mozart's piano concertos have also featured in the soundtracks to several films; again, the slow movement to No. Its extensive use in Dandelions In Bullet Holes - Sarah Harmer - All Of Our Names film Elvira Madigan about a doomed love story between a Danish tightrope walker and a Swedish officer has led to the concerto often being referred to as "Elvira Madigan" even Fuckfinger (Ingen Remix) - Raymond Sieben - Fuckfinger (File), when the film itself is largely forgotten.
A partial list of the concertos in recent films includes:. Other autographs owned by Otto Jahn had been acquired in Grassnick in Berlin and No. Heinemann in Brussels ; a few others were scattered around other museums. In the last 50 years, however, all of the extant autographs have made their way into libraries. The entire Prussian State collection of autographs was evacuated during World War II to the eastern front, where they disappeared and were feared lost until the s.
In addition, various copies used by Mozart and his family have come to light. The list Piano Concerto No. 17 In G Major K 453 - Wolfgang Amadeus Mozart - The Great Piano Concertos locations of the autographs given by Cliff Eisen  in is:. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.
Please help improve this article by adding citations to reliable sources. Wolfgang Amadeus Mozart. Book Category. Piano concertos by Wolfgang Amadeus Mozart. Bach, K. D major, K. Namespaces Article Talk. From Wikipedia, the free encyclopedia. Hyperion Records. Retrieved 31 March Wolfgang Amadeus Mozart. Book Category. Piano concertos by Wolfgang Amadeus Mozart. Bach, K.
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