Piano Concertos, Mozart and Beyond

. The Piano was invented over the course of the lifetimes of Mozart and Beethoven. There is some belief that J. S. Bach himself had the opportunity to examine an early piano towards the end of his life, but an instrument resembling a modern concert grand was still not in existence until some years after Beethoven's death. Pianos could be played both soft and loud, simply by varying the force on the keys. Harpsichords had to be set to play with some level of sound, and there was little one could do to vary the volume over a phrase, for instance. But pianos had this flexibility that performers so highly, so that even while it was being invented, Mozart was writing compositions to showcase them. That's essentially what a concerto is: a composition to showcase an instrument and a performer. Mozart was perfectly candid, privately, about the fact that he was not above self-promotion. He had Royal patronage to some degree (that is, the King or the Emperor would give him a small stipend to hang out at court, and write and perform compositions), and so did the Bishop of Salzburg, who had his own court. But Mozart despised the Bishop, and hated having to toe his line and submit to his discipline (as Amadeus portrays very convincingly, but this is all in accord with contemporary records taken from diaries, journals and letters). So when Mozart wrote a piece, it was in order to show himself to the best advantage. In these days, of course, composers are at pains to represent themselves as having other considerations than simply the financial one, and this was true even back in the late 1700. However, starting as early as Piano concerto nos. 24 and 25, we can see that Mozart's instinct to simply write music for its own sake was strong, bursting through the sheer entertainment motive, which would earn him money. A concerto that has expressive elements that outweigh it's "bling" factor has been called "symphonic", and many critics regard Mozart's piano concerti as beginning to assume symphonic attributes. Here is the first movement of Mozart's Piano concerto no. 20 in D minor, conducted and performed by Friedrich Gulda. (You can read details about the opinion of whoever posted the clip at the site; sometimes these remarks are interesting.) No one can convince me that this piece was written purely for entertainment. Mozart's Piano Concerto no. 24, in C minor, is an amazingly powerful concerto, and Malcolm Bilson's recordings are very worth acquiring (as are Robert Levin's). The theme in the first movement, though worthy of Beethoven, is nevertheless absolutely Mozart. I have a suspicion that Beethoven not only performed this concerto, but that it was one of his favorites. Next comes Mozart's Piano Concerto no. 25 in B Flat, played here by Mitsuko Uchida, one of the great Mozartians of our time. This one, though it grows on you like crazy, does not appeal immediately. It tries hard to be grave and grand, and only succeeds some of the time. Behind the bluster I think I can sense anxiety. (Quit incidentally, the conductor here is Riccardo Muti, whose daughter Ornella Muti portrayed the lovely Princess Aura in the movie Flash Gordon in 1980.) Beethoven's Concertos were written in a similar artistic and economic environment to that in which Mozart was performing, but the independence of the piano performer was beginning to be accepted more widely. The new improved pianos must have helped, because they were louder, and one could compete easily against the big orchestras that were beginning to be put together in the early 19th century. Beethoven's first few concertos--though gorgeous--are a contrast with his last, the Fifth. The third, in this clip with Murray Perahia and the Academy of St Martin In the Fields and Neville Marinner, is already very much in the style of mature Beethoven. The symphonic attributes of this one are so interwoven with the virtuosic that it is hard to ignore the glory of the piano and focus on the sheer power of the music. This is not music to have a supper to, by any means. The Fourth Concerto is a little more contemplative, and a little more lyrical, at times almost prayer-like. Here is Dmitris Sgouros, playing with the Czech Philharmonic under Charles McKerras. The phrase just about 2:45 seconds into the movement is just a sublime passage. The Emperor Concerto, no. 5 in E flat, is one of the great piano concertos of the repertoire. It is a rollicking work, written by a very Jupiter at the keyboard, especially the grand opening movement, introduced by a flourish on the piano. The first theme actually enters just about at 1:46. The final movement is so amazing, one can hardly stay seated for it. Here is a version on original instruments. It is a crazy waltz, appropriate for a musician who lived and worked in Vienna. A very important composer whose works are rarely heard by any except insiders of the classical music world is Robert Schumann. Schumann, not only a wonderful composer himself, but a great admirer of his fellow-composers, artists and poets, established a salon in his home, at which the greatest of the musicians of that time delighted to perform chamber works, not least his own wife, Clara Wieck Schumann, and Johannes Brahms. Unfortunately, Schumann suffered with mental instability for which he was institutionalized, leaving Clara to keep the household running by herself. Fortunately for us, a few symphonies, numerous songs (Lieder), and miniatures (small solo pieces, e.g. Kinderscenen) have come down to us, as well as a glorious piano concerto in A minor. Hearing this it is impossible not to regret the frailties that kept Schumann from being more prolific. Actually, it was hearing the beautiful Grieg piano concerto in A minor this morning that inspired me for this blog post. Edvard Grieg of Norway is usually, and not inappropriately, categorized as one of the Nationalist category of composers of the 19th century, though his importance transcends that narrow description. The piano concerto alone would have made Grieg famous, and arguably, it has. It is delightful, genial, tuneful, redolent with wonderful allusions to Norwegian folk songs and ballads (as I understand; I wish I knew for certain!) This concerto is thought by some to have been influenced strongly by Schumann's concerto mentioned above. Finally, there are the wonderful concertos by Chopin, Brahms, Tchaikovsky, and Rachmaninov. Chopin wrote two, both fairly well known. Brahms, too, wrote two, and Rachmaninov at least two (I could be wrong). Here is Brahms's Concerto no. 2 in B Flat. It is utterly romantic, and Brahms spills his guts. We can imagine that he premiered it (this fact can easily be verified). The Tchaikovsky Concerto no. 1, with the famous theme from movement 1, (used in the popular song "Tonight we love," in the sixties). It seems that this concerto, influenced the music of Charlie Chaplin, who was a closet composer of no mean talent. Here is Evgeny Kissin and Herbert von Karajan. Finally, here is Rachmaninov's concerto No. 3. Rachmaninov's idiom seems to come from Russian folk songs, and have a kinship to Hebrew music as well. Well, happy listening! I provided clips of the first movements, since most people remember the opening movement theme when given the name of a concerto. In some concertos, however, the remaining two movements often equal or surpass the beauty of the first movements. Enjoy! Archimedes