Mozart: Piano Concertos 1 - 4

 

I wish I knew more regarding the provenance of these four early Piano Concertos.

Essentially, a very young Mozart took movements from piano sonatas of other composers, and realized them as Piano Concertos. Those composers were Raupach, Honauer, Eckard, CPE Bach, and Schobert.

I don't know any of these composer's original works, so it would be nice to know how much of the solo piano is the original composer, whether the orchestrations and introductions were interpolated by Mozart, or what the process exactly was. I will leave such questions to the academics for now.

What I can assume is Mozart had a high opinion of these composers, for he and his father Leopold were unflatteringly judgy when it came to composing. Indeed, I find all of these concertos rather charming, even if they are mere exercises for a young Mozart.

These are not Historically Informed Performances either. The Philharmonia is a full-bodied, modern sounding orchestra, and Vladimir Ashkenazy uses a modern piano, although he does direct from the keyboard. Ashkenazy also conceptualizes the cadenzas himself, with the exception of the first movement from K40; I find them tasteful enough, although some will yearn for more of Mozart's existing ones.

As to the performances, I find them delightful. Ashkenazy is joyful here, particularly in Piano Concerto no. 2 in B-flat Major. The little skipping rhythms at the opening are filled with great humor, and it continues through that work. The pianist likes to lean into the minor-keyed developments, eliciting more stürm und dräng than may be necessary, but at least there is personality. The finale of Piano Concerto no. 3 in D Major bears the dusty Baroque of that composer's lineage, even if only in my mind at the mention of a Bach family member.

While strings are dead center, Mozart varied the winds for each concerto, using pairs of oboes, horns, trumpets, and flutes. In this recording, I thought Piano Concerto no. 1 in F Major had the oboes and horns a little too flung back, probably due to the church acoustic, but this aspect rights itself a little better for the subsequent concertos. The horns get the most action, otherwise the rest of the winds play with fair subtlety.

I don't have a lot of history with these works; I have generally avoided them for their lack of Mozart originality, but I think anyone should find charm here regardless. I personally like the firm bass line on this recording, but some might prefer that from Murray Perahia with the English Chamber Orchestra, who are lighter and perhaps more playful. Of course, some will poo-pooh any modern instrument performance, but I can't really guide any into the Period Practice realm, as it is not to my tastes.

Listen on YouTube

Works
Piano Concerto 1 in F Major, K37 (16.18)
Piano Concerto 2 in B-flat Major, K39 (14.07)
Piano Concerto 3 in D Major, K40 (14.27)
Piano Concerto 4 in G Major, K41 (13.14)

Soloists
Vladimir Ashkenazy, piano

Performers
Philharmonia Orchestra

Label: Decca
Year: 1988
Total Timing: 58.28

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