Accompanied by the Freiburger Barockorchester (Freiburg Baroque Orchestra), the Australian fortepiano player, harpsichordist, and pianist of South African origin, Kristian Bezuidenhout performs Wolfgang Amadeus Mozart’s Piano Concerto No. 17 in G major, KV. 453 on the fortepiano, the original instrument. Concertmaster: Petra Müllejans. Recorded at the Schwetzingen Festival (German: Schwetzinger Festspiele, now Schwetzinger SWR Festspiele), an early summer festival of opera and other classical music presented each year from May to early June in Schwetzingen, Germany.
Program
With start times in the video above:
- 00:00 The overture of Der Schauspieldirektor, KV. 486, a comic singspiel by Wolfgang Amadeus Mozart, set to a German libretto by Gottlieb Stephanie.
- 06:00 Piano concerto no. 17 in G major, KV. 453
- 35:37 Idomeneo, KV 366: Musique de ballet, an Italian language opera seria by Mozart.
Mozart’s Piano Concerto No. 17
Mozart’s Piano Concerto No. 17 in G Major, K. 453 is a vibrant and lyrical work that reflects the composer’s mastery of the concerto form. Composed in 1784 (according to the date that the composer himself noted on the score, the concerto was completed on April 12, 1784), it was written for Barbara Ployer, one of Mozart’s most talented piano students, and it showcases a blend of elegance, virtuosity, and depth that was typical of his middle-period compositions. This concerto is lighter in tone compared to some of his more dramatic works, exuding a sense of playfulness and charm, while still maintaining the sophistication and complexity for which Mozart is known.
The orchestration of Piano Concerto No. 17 is particularly rich, featuring not only the standard strings and winds but also including oboes, bassoons, and horns. This creates a bright, colorful texture that complements the solo piano’s expressive capabilities. Throughout the concerto, there is a dynamic interplay between the piano and the orchestra, with both engaging in a dialogue that feels conversational rather than confrontational. Mozart balances moments of solo brilliance with sections where the piano and orchestra work in unison, achieving a delicate harmony that reflects the lighthearted yet thoughtful nature of the piece.
Though this concerto leans toward a cheerful and serene mood, it is not without moments of emotional complexity. Mozart’s use of unexpected harmonic shifts and intricate thematic development reveals his ability to weave layers of emotional nuance into even the most joyful passages. The Piano Concerto No. 17 is often regarded as one of Mozart’s most joyful and melodically rich concertos, filled with graceful melodies, inventive development, and a sense of effortless flow that captures the composer’s genius. It remains a favorite in the repertoire for its combination of technical brilliance and emotional warmth, and it continues to captivate audiences with its joyful and elegant spirit.
The date of the premiere of Mozart’s Piano Concerto No. 17 is uncertain. In one view, the work is said to have been premiered by Mozart’s student Barbara Ployer on June 13, 1784, at a concert to which Mozart had invited Giovanni Paisiello to hear both her and his new compositions, including also his recently written Quintet in E flat for Piano and Winds. Afterward, Ployer was joined by Mozart in a performance of the Sonata for Two Pianos, K. 448.
Another possibility, advanced by Lorenz (2006, 314), is that Mozart did not wait over two months to premiere the work, but performed it in his concert with Regina Strinasacchi on 29 April 1784 at the Kärntnertortheater. As a general consensus for researchers, it can be said with relative certainty that the work premiered during the mid-to-late spring of 1784, following its completion.
Movements
1. Allegro
The first movement of Mozart’s Piano Concerto No. 17 in G Major, marked Allegro, is a lively and graceful opening that immediately sets a bright, cheerful tone. The movement follows the traditional sonata-allegro form, beginning with a spirited orchestral introduction that presents the primary themes before the piano enters. The orchestra’s playful and elegant melodies establish the lighthearted mood, and Mozart’s use of winds adds a rich, colorful texture to the overall sound.
When the piano makes its entrance, it echoes and develops the themes introduced by the orchestra, engaging in a lively conversation with the ensemble. The piano part is both lyrical and virtuosic, showcasing the soloist’s technical skill without overwhelming the music’s inherent charm. Mozart alternates between graceful, flowing passages and more rhythmically active, sparkling moments, giving the soloist ample opportunity to demonstrate finesse and agility.
Throughout the movement, Mozart introduces surprising harmonic shifts and modulations, adding depth and complexity to what initially seems like a simple, joyous piece. The dialogue between the piano and orchestra remains dynamic and conversational, with the two often complementing and reinforcing each other rather than competing.
The first movement maintains a sense of balance between lightness and sophistication, creating a seamless flow that feels effortless. Its melodic richness and intricate interplay between soloist and orchestra make it an engaging and captivating opening to the concerto, blending virtuosic flair with Mozart’s signature elegance and warmth.
2. Andante
The second movement of Mozart’s Piano Concerto No. 17 in G Major, marked Andante, offers a tranquil and reflective contrast to the lively first movement. Set in the key of C major, the movement unfolds with a gentle, lyrical theme introduced by the orchestra, creating an atmosphere of calm serenity. The orchestral introduction is tender and graceful, providing the perfect backdrop for the piano’s entrance.
When the piano takes over, it delicately explores the theme, adding embellishments and variations that enhance its expressive depth. The music flows smoothly, with the piano and orchestra engaging in a subtle, almost conversational exchange. Mozart’s writing here is particularly intimate, with the soloist and ensemble working together in a way that highlights their unity rather than contrast. The simplicity of the melodic lines allows the emotional nuance to come through, with each phrase imbued with a sense of quiet introspection.
While the movement maintains a serene and contemplative mood throughout, Mozart still includes moments of harmonic richness and subtle shifts that add emotional complexity. The balance between restraint and expression is masterfully handled, with the piano weaving in and out of the orchestral texture, never overpowering but always contributing to the overall sense of calm.
The Andante showcases Mozart’s ability to convey profound emotion through simplicity and elegance, creating a moment of stillness in the concerto that invites the listener to pause and reflect before the more spirited finale. It is a beautifully poised and lyrical centerpiece in the work.
3. Allegretto – Presto
The third movement of Mozart’s Piano Concerto No. 17 in G Major, marked Allegretto, brings the concerto to a lively and playful conclusion. This movement is written in the form of a rondo, a structure where the main theme alternates with contrasting episodes. The cheerful main theme, introduced by the piano, is immediately memorable for its lightness and dance-like character. It sets a joyful tone that runs throughout the movement, exuding a sense of brightness and optimism.
As the piano and orchestra engage in lively exchanges, Mozart introduces several contrasting episodes that showcase different moods and colors. These episodes, while varied in tone, maintain the overall spirited energy of the movement. The piano part is full of lively, virtuosic passages, with fast runs and intricate embellishments, offering the soloist moments of technical brilliance. However, Mozart ensures that the virtuosic elements never overshadow the charm and elegance of the music.
The interplay between the piano and orchestra is dynamic, with the two frequently echoing each other’s phrases or engaging in playful back-and-forth exchanges. The movement alternates between moments of light-hearted playfulness and more robust, energetic sections, all tied together by the recurring rondo theme.
In the final section, the music builds toward a joyous and exhilarating conclusion, bringing the concerto to a satisfying close. The Allegretto is filled with wit, charm, and exuberance, leaving the audience with a sense of delight and a reminder of Mozart’s skill in combining technical complexity with lighthearted elegance.
The finale is a variation movement whose theme was sung by Mozart’s starling: for about three years the composer Wolfgang Amadeus Mozart kept a pet starling. Mozart presumably taught the bird to sing this tune in the pet store, or wherever it was that he bought it. According to Mozart’s transcription, the starling incorrectly inserted a fermata on the last beat of the first full measure and sang G-sharp instead of G in the following measure.
Mozart probably was not joking when he made the transcription, because starlings are known to have a very strong capacity for vocal mimicry.
The bird Mozart brought home lived as a pet in his household for three years and died on 4 June 1787. Mozart buried the creature in the backyard and wrote a commemorative poem for the occasion. Deutsch 1965 calls the poem “serio-comic”. However, West and King note, based on their extensive experience, that starling pets interact closely with their human keepers, often causing their owners to bond with them. Thus, Mozart’s expression of sorrow may have been quite sincere.
Kristian Bezuidenhout
Bezuidenhout was born in South Africa in 1979. He began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial studies as a modern pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette.
Bezuidenhout first gained international recognition at the age of 21 after winning the prestigious first prize as well as the audience prize in the Bruges Fortepiano Competition.
Bezuidenhout is a frequent guest artist with the world’s leading ensembles including The Freiburger Barockorchester, Orchestre des Champs Elysées, Orchestra of the 18th Century, English Concert, Orchestra of the Age of Enlightenment, Concerto Köln, Chamber Orchestra of Europe, Royal Concertgebouw Orchestra, Chicago Symphony, Sinfonieorchester des Bayerischen Rundfunks, and Collegium Vocale Gent, in many instances assuming the role of guest director.
He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Ton Koopman, Christopher Hogwood, Pieter Wispelwey, Daniel Hope, Jean-Guihen Queyras, Isabelle Faust, Viktoria Mullova, Carolyn Sampson, and Mark Padmore.
Bezuidenhout now divides his time between concerto, recital, and chamber music engagements, appearing in the early music festivals of Barcelona, Boston, Bruges, Innsbruck, St. Petersburg, Venice, and Utrecht; the festivals of Salzburg, Edinburgh, Schleswig Holstein, Tangelwood and Luzern and Mostly Mozart Lincoln Center, and at many of the world’s most important concert halls including the Berlin and Köln Philharmonie, Suntory Hall, Theatre des Champs Elysées, Symphony Hall, Konzerthaus Vienna, Wigmore Hall, and Carnegie Hall.
Since 2009, Bezuidenhout has embarked on a long-term recording relationship with Harmonia Mundi. Recent recordings include Volumes 1, 2 & 3 of the complete keyboard music of Mozart (prizes include Diapason D’or, a Caecilia Prize, and Preis der Deutschen Schallplattenkritik); Mendelssohn piano concertos with the Freiburg Baroque Orchestra and Schumann Dichterliebe with Mark Padmore (both won Edison Awards). His recording of Beethoven violin sonatas with Viktoria Mullova (ONYX label) won an Echo Award for the best chamber music album of 2011. A disc of Mozart Piano Concertos (K. 453 & 482) with the Freiburg Baroque Orchestra was released in November 2012.
Pianoforte
A fortepiano is an early version of the piano, from its invention by the Italian instrument maker Bartolomeo Cristofori (May 4, 1655 – January 27, 1731) around 1700 up to the early 19th century. It was the instrument for which Haydn, Mozart, and the early Beethoven wrote their piano music.
Starting in Beethoven’s time, the fortepiano began a period of steady evolution, culminating in the late 19th century with the modern grand. The earlier fortepiano became obsolete and was absent from the musical scene for many decades. In the 20th century, the fortepiano was revived, following the rise of interest in historically informed performance. Fortepianos are built for this purpose today in specialist workshops.
Sources
- Piano Concerto No. 17 (Mozart) on Wikipedia
- Kristian Bezuidenhout’s official website
- Mozart’s starling on Wikipedia.com
- Fortepiano on Wikipedia.com
- “Wolfgang Amadeus MOZART: Piano Concerto No. 17” on the L.A. Phil website
- Piano Concerto No. 17 in G major, K. 453 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- “Mozart’s Piano Concerto No. 17 in G Major: A Magical Operatic Drama” on The Listeners’ Club website
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- César Franck: Violin Sonata [Argerich, Capuçon] - September 8, 2024
- Beethoven: Piano Sonata No. 23 “Appassionata” [Anna Fedorova] - September 7, 2024