Accompanied by the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra), Italian classical pianist Francesco Piemontesi performs Wolfgang Amadeus Mozart’s Piano Concerto No. 25 in C major, K. 503. Conductor: Manfred Honeck. Recorded at Alte Oper Frankfurt on March 27, 2015.
Mozart’s Piano Concerto No. 25
Mozart’s Piano Concerto No. 25 in C major, K. 503, composed in 1786 (Mozart finished composing the Piano Concerto No. 25 in C major, K. 503 on December 4, 1786, along with the Prague Symphony, K. 504 or Symphony No. 38), stands as one of his grandest and most sophisticated works in the genre.
Often overshadowed by the more popular Piano Concerto No. 21 and the D minor Concerto No. 20, this concerto is nonetheless one of his most remarkable creations, filled with structural complexity, harmonic richness, and emotional depth. Written during a highly productive period in Mozart’s life, when he was also working on his operas The Marriage of Figaro and Don Giovanni, the concerto reflects his mature compositional voice and mastery of orchestral and piano writing.
Despite Mozart himself performing the Piano Concerto No. 25 multiple times, the concerto was not played again in Vienna until after his passing. It wasn’t until the latter half of the 20th century that Piano Concerto No. 25 K. 503 began to be recognized as a staple of the standard repertoire.
The concerto is set in C major, a key Mozart often associated with grandeur and nobility. From the opening, Mozart establishes a sense of expansive, almost orchestral sound, utilizing a full complement of winds and brass to lend a symphonic weight to the work. Unlike many of his earlier concertos, where the solo piano is quickly introduced, Piano Concerto No. 25 begins with a lengthy orchestral introduction, presenting a tapestry of themes that unfold with a majestic, almost heroic quality.
This orchestral section sets a foundation that the piano will later explore, echoing Mozart’s approach in some of his mature symphonies. The interaction between the soloist and orchestra is sophisticated, with the piano weaving in and out of the orchestral textures rather than simply taking the lead. Mozart’s use of the orchestra in this concerto is notable, as he carefully balances the piano with a richly textured orchestration, allowing the winds, in particular, to play a prominent role in dialogue with the soloist.
One of the most striking aspects of Piano Concerto No. 25 is its harmonic exploration. Mozart modulates through a variety of keys with fluidity and inventiveness, creating unexpected shifts that add depth to the musical narrative. The concerto’s expansive melodies and contrasting themes showcase Mozart’s ability to blend lyrical beauty with structural complexity, resulting in a work that is both intellectually engaging and emotionally resonant. This concerto moves seamlessly between moments of grandeur, introspection, and playfulness, encapsulating a wide emotional range.
Though the concerto was not as widely appreciated in Mozart’s time as some of his other works, it has since gained recognition as one of his greatest achievements in the piano concerto repertoire. Its blend of symphonic scale, harmonic sophistication, and emotional subtlety makes it a profound statement from a composer at the height of his powers.
While two additional concertos, No. 26, K. 537, and No. 27, K. 595, were written later, this piece is regarded as the final one of the twelve magnificent piano concertos created in Vienna from 1784 to 1786. It is worth noting that chronologically, this work is the 21st among Mozart’s 23 original piano concertos.
The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani, and strings. It is one of Mozart’s longest concertos, with average performance durations of 29-33 minutes.
Movements
1. Allegro maestoso
The first movement of Mozart’s Piano Concerto No. 25 in C major, K. 503, marked Allegro maestoso, is a grand and stately opening that exemplifies one of Mozart’s most symphonic approaches to a concerto movement. Set in sonata form, it opens with a lengthy orchestral introduction, a feature more typical of a symphony than a concerto.
This introduction lays out a tapestry of themes that are noble and expansive, immediately establishing a majestic tone. Mozart employs a full orchestra, with brass and winds adding richness and depth that contribute to the symphonic quality of the movement. This orchestration gives the piece a feeling of grandeur, as though the piano soloist were embedded within a larger, harmonious whole.
Throughout the movement, Mozart masterfully weaves between the major and minor modes, subtly slipping into the minor key to introduce moments of tension and complexity. These shifts imbue the movement with emotional nuance, as brighter themes in the major key contrast with darker, more introspective passages in the minor. The solo piano enters with poise and grace, echoing and expanding upon the themes introduced by the orchestra. The interaction between piano and orchestra is highly integrated, with the piano often enhancing or elaborating upon the orchestral material rather than dominating it.
The Allegro maestoso is rich in thematic development, with Mozart continuously revisiting and transforming motifs throughout. The movement concludes with a satisfying recapitulation that brings the varied themes together, achieving a sense of closure that feels both expansive and complete. This movement stands as one of Mozart’s most mature and sophisticated statements in concerto form, highlighting his ability to blend symphonic grandeur with intimate expression.
2. Andante in F major
The second movement of Mozart’s Piano Concerto No. 25 in C major, K. 503, marked Andante and set in F major, provides a peaceful and reflective contrast to the grandeur of the opening movement. This movement, also in sonata form, foregoes a development section, which allows it to unfold in a more straightforward, song-like manner, giving it a serene, almost meditative quality. Mozart’s choice of F major, a key often associated with warmth and gentleness, enhances the movement’s calming atmosphere.
One of the most striking features of this Andante is Mozart’s extensive use of the winds, which take on a central role in the texture. The winds introduce the main themes and often engage in delicate dialogues with the solo piano, creating a rich interplay between timbres. Their light, airy sound complements the lyrical lines of the piano, adding layers of subtle color and enhancing the movement’s tranquil character. Unlike the traditional concerto format where the piano dominates, here the soloist blends seamlessly with the orchestra, resulting in a balanced, chamber-like intimacy.
The absence of a development section allows Mozart to focus on the beauty of the themes themselves, without the complexity of further elaboration. This simplicity brings a purity to the movement, letting the melodic lines shine with unadorned grace. The movement concludes gently, maintaining its tranquil mood, and leaving the listener in a state of peaceful introspection before the concerto transitions into its lively final movement.
3. Allegretto
The third movement of Mozart’s Piano Concerto No. 25 in C major, K. 503, marked Allegretto, is a spirited and elegant finale that brings the concerto to a joyful close. Structured as a sonata-rondo, this movement combines the lively, recurring themes of a rondo with the developmental complexity of sonata form. It opens with a graceful gavotte theme, which Mozart borrowed from his earlier opera Idomeneo. This theme, with its dance-like character, immediately sets a light-hearted, buoyant tone that carries throughout the movement.
In the Allegretto, Mozart again explores the contrast between major and minor tonalities, with passages that briefly touch upon the minor, adding moments of tension and depth. These minor-key sections provide an emotional counterpoint to the movement’s otherwise bright character, creating an engaging interplay between contrasting moods. The solo piano and orchestra share the melodic material, with the piano often leading and embellishing the main themes, while the orchestra provides lively responses and rhythmic support. Mozart’s orchestration here, as in the earlier movements, is rich and varied, with the winds again playing an important role in enhancing the texture.
As the movement progresses, the piano navigates through passages of virtuosic runs and ornamentation, highlighting both technical prowess and expressive detail. The rondo structure allows Mozart to revisit the opening gavotte theme in multiple forms, each time with subtle variations that keep it fresh and engaging. The movement ultimately builds to a confident, triumphant conclusion, bringing the concerto to a satisfying close. This finale, with its dance-like charm and celebratory energy, encapsulates the joyful spirit of the work and serves as a fitting culmination to one of Mozart’s most symphonically inspired concertos.
Francesco Piemontesi
Born in Locarno, Francesco Piemontesi rose to international prominence with prizes at several major competitions, including the 2007 Queen Elizabeth Competition. Between 2009-2011 he was chosen as a BBC New Generation Artist.
He is regarded as one of the new great Mozartian pianists; in the Daily Telegraph, “Piemontesi’s playing on this disc identifies a Mozartian of rare refinement and wisdom.” But he consciously seeks to balance this both in recital and in the concert hall with other, post-classical repertoire – Debussy, Ravel, Liszt, Dvorak, Bartók, as well as the composers of the great German repertoire.
Following his BBC Prom in August 2014, the Financial Times wrote, “What the Burleske [Strauss] does have to offer is a virtuoso piano part, and Francesco Piemontesi sparkled with dashing insouciance, only to contrast that with playing of lyrical beauty in Mozart’s Rondo in A major, K386, after the interval.”
Piemontesi’s playing is characterized by consummate technical skill, a wide and rich palette of color, and a refinement of expression. Of one of his great teachers and mentors, Alfred Brendel, Piemontesi says that Brendel taught him “to love the detail of things”.
In 2012, Piemontesi was announced as the Artistic Director of the Settimane Musicali di Ascona, in his hometown Locarno.
Francesco Piemontesi now appears with major ensembles worldwide: Cleveland Orchestra, DSO and Berlin Radio Symphony, Bavarian Radio Symphony, London Philharmonic, Philharmonia, BBC Symphony, Israel Philharmonic, and the Orchestra of the Maggio Musicale.
He has performed with such conductors as Zubin Mehta, Marek Janowski, Sakari Oramo, Vasily Petrenko, and Charles Dutoit. He has also established a close musical partnership with, for example, Sir Roger Norrington, Stanislaw Skrowaczewski, David Afkham, Nicholas Collon, and Andrew Manze.
Piemontesi is a natural and keen chamber musician and plays with various partners – the Emerson Quartet, with Antoine Tamestit and Jörg Widmann in a trio, with Renaud and Gautier Capuçon, Clemens Hagen, Yuri Bashmet, Angelika Kirchschlager and during his formative years, with Heinrich Schiff.
In solo recitals, he has appeared in prestigious venues including Wigmore Hall, Amsterdam Concertgebouw, Rotterdam De Doelen, Carnegie Hall and Avery Fisher Hall in New York, Berlin Philharmonie, Vienna Konzerthaus and Musikverein, Tokyo Suntory Hall and in Rome, Zurich, Paris, and Brussels.
Festival invitations have come from the Edinburgh International Festival, La Roque d’Anthéron, New York Mostly Mozart, Chopin International Music Festival in Warsaw, Lucerne Festival, Aix-en-Provence Festival, and Schleswig-Holstein Festival.
Sources
- Piano Concerto No. 25 (Mozart) on Wikipedia
- Francesco Piemontesi’s official website
- Piano Concerto No. 25 in C major, K. 503 (Mozart, Wolfgang Amadeus) on the International Music Score Library website
- “Wolfgang Amadeus Mozart’s Piano Concerto No. 25, K. 503” on the L.A. Phil website
- Mozart – Piano Concerto No. 25 in C Major for Piano and Orchestra, K. 503 on the Utah Symphony Orchestra’s website (by Jeff Counts)
- “Mozart’s Piano Concerto No. 25 in C” on the South Bend Symphony Orchestra’s website
- “1786: Mozart: Piano Concerto No. 25” on the Harpsichord with Hammer website
