Accompanied by the NHK Symphony Orchestra, Maria João Pires performs Wolfgang Amadeus Mozart’s Piano Concerto No. 17 in G major, KV. 453. Conductor: Herbert Blomstedt. The performance was in 1992 in Japan.
Wolfgang Amadeus Mozart’s Piano Concerto No. 17
Mozart’s Piano Concerto No. 17 in G major, K. 453, is one of the masterpieces that demonstrate his unmatched skill in combining beauty, elegance, and complexity. Composed in 1784, it was written during a highly productive period of Mozart’s life when he was particularly focused on composing piano concertos, which he often performed himself.
According to the date that the composer himself noted on the score, the concerto was completed on April 12, 1784.
This concerto is known for its charm, lyrical qualities, and the balanced interplay between the orchestra and the piano. Unlike some of Mozart’s more dramatic works, Piano Concerto No. 17 is characterized by its joyful spirit and sense of playfulness. It is a work that showcases the classical ideals of clarity, order, and refined expressiveness. The orchestra does not merely accompany the piano but instead engages in a dynamic dialogue, creating a conversation that unfolds with spontaneity and grace.
The orchestration is particularly colorful, with the inclusion of woodwinds that provide moments of delightful melodic interplay and contrast. The thematic material in this concerto is varied and memorable, embodying Mozart’s gift for crafting melodies that linger in the mind long after the performance has ended. The piano part is intricate yet fluid, highlighting Mozart’s virtuosity without being overly showy. There is an undeniable balance between technical brilliance and emotional depth, which makes this concerto not only a vehicle for the performer to display their skill but also an opportunity to convey a wide range of emotions to the audience.
One anecdote often associated with this concerto is that Mozart composed it for his student Barbara Ployer, who performed it at a concert in 1784. This personal connection may have influenced the concerto’s lighthearted and uplifting character, as well as its accessibility, despite the challenging piano passages.
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.
Today, Piano Concerto No. 17 remains one of Mozart’s most beloved concertos, admired for its expressive beauty, inventive orchestration, and the seamless partnership it forges between soloist and orchestra. It is a work that continues to captivate audiences with its joyful elegance and rich musicality.
Movements
1. Allegro
The first movement of Mozart’s Piano Concerto No. 17 in G major, Allegro, opens with a vibrant orchestral introduction that immediately sets a joyful and elegant tone. It features a lively, tuneful main theme that is presented by the strings and woodwinds, establishing a sense of buoyant energy.
The orchestral exposition is richly orchestrated, with notable interplay among the instruments that highlights Mozart’s skill in crafting dialogues within the orchestra. Once the piano enters, it mirrors the opening theme, and then takes it further, adding elaboration and subtle variations.
Mozart showcases his genius in balancing the soloist and the orchestra, with the piano seamlessly taking over the thematic material while offering fresh nuances and virtuosic flourishes. The interplay between the piano and orchestra in this movement is a true conversation, filled with echoes, responses, and exchanges that keep the listener engaged.
The development section explores and elaborates on the main themes, incorporating shifts in tonality and expressive modulations that create tension and contrast before returning to the recapitulation. The piano’s return is graceful and expressive, providing a sense of resolution while still displaying technical brilliance.
Throughout the Allegro, Mozart’s signature lightness and clarity are evident, combining joyful themes with intricate passages that allow the soloist to shine without overpowering the orchestra. The movement concludes with a spirited coda, wrapping up the lively and optimistic atmosphere established at the outset.
2. Andante in C major
The second movement of Mozart’s Piano Concerto No. 17, marked Andante, is set in C major and provides a beautiful contrast to the lively energy of the first movement. This movement is characterized by its gentle and lyrical nature, unfolding with a calm and introspective quality that invites a sense of quiet reflection. The orchestra opens with a tender, song-like theme, which is later echoed and embellished by the piano. The mood is serene and almost wistful, with subtle shifts that suggest a deeper emotional undercurrent beneath the otherwise tranquil surface.
The piano’s role in the Andante is expressive and intimate, allowing the performer to convey a wide range of nuances with great sensitivity. The interplay between the piano and orchestra is particularly elegant, with phrases that gently weave in and out, creating a conversation that feels personal and heartfelt. The woodwinds play a significant role in this movement, adding color and warmth that enrich the harmonic texture and bring additional depth to the melody.
Throughout the Andante, Mozart’s use of dynamics and articulation enhances the emotional impact, with the piano offering delicate ornaments and variations that add to the expressive quality of the music. This movement is often considered a lyrical respite within the concerto, showcasing Mozart’s ability to craft music that speaks directly to the heart. Its graceful beauty and introspective character provide a moment of stillness and contemplation before the concerto moves on to its lively conclusion.
3. Allegretto – Presto
The third movement of Mozart’s Piano Concerto No. 17 in G major, marked Allegretto – Presto, is a spirited and delightful finale that stands out for its inventive character and playful energy. This movement is a set of variations on a theme, which is notable for its unusual origin-Mozart’s pet starling.
For about three years, Mozart kept a pet starling, which he presumably taught to sing the theme that became the basis for this movement. The story of how the bird learned the melody is a fascinating one. It is said that Mozart encountered the starling in a pet store, and it was there that the bird mimicked the melody well enough to charm the composer into purchasing it.
Mozart transcribed the starling’s version of the tune, noting that the bird inserted a fermata (a hold) on the last beat of the first full measure and sang G-sharp instead of G in the following measure. These small “errors” added an element of charm to the melody, and it is believed that Mozart found this deviation amusing. Starlings are known for their remarkable capacity for vocal mimicry, and Mozart likely appreciated the bird’s attempt, with its slightly flawed but endearing version of his theme.
The bird became a part of Mozart’s household, and the bond between them was such that Mozart wrote a commemorative poem when the bird died in June 1787. While some scholars, such as Deutsch, describe the poem as “seriocomic,” others argue that Mozart’s expression of sorrow may have been sincere, reflecting the bond he formed with the bird.
The variation movement itself is masterful in its construction, filled with humor, contrast, and virtuosity. The theme, which has a lighthearted and almost whimsical quality, is presented by the orchestra before being taken up by the piano. From there, Mozart develops a series of variations that showcase both the soloist’s dexterity and the orchestra’s rich texture. Each variation brings something new, whether it is a change in rhythm, dynamic shifts, or a playful exchange between the piano and different sections of the orchestra. Mozart uses the variations to create a sense of lively dialogue, with the piano often leading and the orchestra responding in kind.
One of the hallmarks of this movement is its playful spirit, which is evident in the way Mozart manipulates the theme. The piano’s role is dynamic and engaging, filled with brilliant runs, ornaments, and contrasting articulations that keep the listener on their toes. The variations grow increasingly intricate, requiring the pianist to demonstrate technical prowess while maintaining a sense of lightness and fun. Mozart masterfully balances complexity with accessibility, ensuring that the music remains joyful and approachable throughout.
The movement’s conclusion, marked Presto, is particularly thrilling. The tempo quickens, and the music builds in intensity, propelling the listener toward an exuberant and satisfying finish. This final section is characterized by rapid passages, sparkling piano lines, and a sense of unbridled energy that leaves a lasting impression. The orchestra and piano come together in a jubilant coda, wrapping up the concerto on a high note, full of vitality and excitement.
The Allegretto – Presto finale of Piano Concerto No. 17 is a fitting end to a concerto that balances depth with delight. Its origins in the song of a starling add a layer of whimsy to the music, reflecting Mozart’s sense of humor and his connection to the natural world. The variations are not only a showcase of compositional ingenuity but also an invitation to the performer and listener alike to engage in a joyful celebration of music. The finale encapsulates the essence of Mozart’s style – brilliance, charm, and an unerring ability to communicate the sheer joy of making music.
Sources
- Piano Concerto No. 17 (Mozart) on wikipedia
- Mozart’s starling on Wikipedia.com
- Fortepiano on Wikipedia.com
- Piano Concerto No. 17 in G major, K. 453 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Piano Concerto No. 17, Wolfgang Amadeus Mozart on the L.A. Phil website
- “Mozart: Piano Concerto No. 17 in G Major, K.453” on the Sacramento Philharmonic & Opera website
- “Mozart: Piano Concerto No. 17 in G major, K. 453” on the Nashville Symphony website
