Piano Concertos Nos 17 & 27
Wolfgang Amadeus Mozart

Piano Concertos Nos 17 & 27

Angela Hewitt / Orchestra da Camera di Mantova

CDA 67919 - 0034571179193

Information GreatBrittain Germany

All these concerts meant that Mozart had to present something new at each one—at least when they were his own promotions, and when he wasn’t improvising. That goes some way to explain how, in 1784 alone, he miraculously tossed off six new piano concertos, along with the great C minor Piano Sonata K457, the D major Sonata for two pianos K448, and four major chamber works, including the stunning Quintet for piano and winds, K452. He composed in his head—not at the piano—and writing the work down was usually the very last thing he did. As far as the piano concertos were concerned, he guarded his manuscript copies with his life—only letting them out of his possession to show his father. It seems illegal copying is not just a twenty-first-century problem but was a major issue for Mozart, his work being stolen and copied with no revenue going to him. On his travels he would take with him only the orchestral parts to the concertos, preferring to carry the solo part around in his head.

It has generally been thought that the Piano Concerto No 17 in G major K453 was first played by one of Mozart’s students, eighteen-year-old Barbara Ployer, at a concert in her father’s home in the suburbs of Vienna on 13 June 1784. But in 2006 the Austrian musicologist Michael Lorenz stated a contrary view: that it was most unlikely that Mozart waited two months for a new composition to be performed, and that he probably did so himself on 29 April, just over two weeks after its completion. That was the occasion of a concert in which he also played his new Sonata for piano and violin K454, with one of his favourite interpreters, Regina Strinasacchi of Mantova. Either way, Barbara Ployer (‘Babette’, as she was called) was the rightful dedicatee, and this was the second concerto that Mozart wrote for her, after No 14 in E flat major, K449.

Die große Pianistin Angela Hewitt mit zwei der beliebtesten Mozart-Konzerte.

Angela Hewitt wendet sich für ihr neuestes Album zwei der grössten und beliebtesten Klavierkonzerte Mozarts zu. Zusammen mit ihren bewährten „Mitstreitern“, dem Kammerorchester Mantova und dem brillanten finnischen Dirigenten Hannu Lintu, präsentiert sie diese Werke in einer Ausführung, die sowohl stilvoll elegant wie auch tief empfunden ist. Diese Aufnahme wird vervollständigt durch eine persönliche Reflektion von Hewitt selbst im begleitenden Beihefttext.

  • 1
    Piano Concerto No. 17 in G Major, K. 453
    I. Allegro
  • 2
    Piano Concerto No. 17 in G Major, K. 453
    II. Andante
  • 3
    Piano Concerto No. 17 in G Major, K. 453
    III. Allegretto – Presto
  • 4
    Piano Concerto No. 27 in B-Flat Major, K. 595
    I. Allegro
  • 5
    Piano Concerto No. 27 in B-Flat Major, K. 595
    II. Larghetto
  • 6
    Piano Concerto No. 27 in B-Flat Major, K. 595
    III. Allegro