Accompanied by Moscow Virtuosi, then 11 years old Aimi Kobayashi performs Wolfgang Amadeus Mozart’s Piano Concerto No. 26 in D major, K. 537, generally known as the “Coronation” Concerto at the Svetlanov Hall (Moscow International House of Music), Moscow. Conductor: Vladimir Spivakov.
The concert was a part of the Christmas concerts specially called “The Evening with Mozart” and was held on December 24, 2006. As an encore, she played Frédéric Chopin’s Impromptu No. 1 (the second video below). The press conference afterward was covered by three TV stations and 33 newspapers. Her appearance was sponsored by the AADGT, and the concert was a great success. This was Kobayashi’s orchestral debut abroad.
Mozart’s Piano Concerto No. 26
Mozart’s Piano Concerto No. 26, also known as the “Coronation Concerto,” is a remarkable piece in the classical repertoire. Composed in 1788, during the final years of Mozart’s life, it showcases his mastery of form, melody, and orchestration.
This concerto is often referred to as the “Coronation Concerto” because Mozart himself performed it at the coronation of Leopold II in Frankfurt in 1790. The regal title is fitting considering the grandeur and elegance of the music.
One of the distinctive features of this concerto is its orchestration. Mozart expanded the traditional orchestra by adding clarinets, which adds richness and depth to the overall sound. This expansion of the orchestra reflects Mozart’s experimentation with new timbres and textures, highlighting his innovative spirit.
The Piano Concerto No. 26 is characterized by its brilliant solo passages for the piano. Mozart’s writing for the piano in this concerto is virtuosic yet elegant, with passages that require both technical skill and musical sensitivity from the performer. The interplay between the piano and orchestra is seamless, with moments of dialogue and collaboration that highlight Mozart’s skillful handling of the concerto form.
Movements
In terms of structure, the concerto adheres to the classical form with its three movements: Allegro, Larghetto, and Allegretto. Each movement presents a different mood and musical landscape, showcasing Mozart’s versatility as a composer. With the start times in the video:
- 00:25 Allegro
- 14:28 Larghetto
- 20:30 Allegretto
1. Allegro
The first movement of Mozart’s Piano Concerto No. 26 is a vibrant and energetic Allegro. It serves as an opening statement, introducing listeners to the themes and motifs that will be developed throughout the concerto.
In this movement, Mozart displays his mastery of classical form, adhering to the traditional sonata-allegro structure. The movement begins with a bold orchestral introduction, setting the stage for the entrance of the piano soloist. The piano enters with a majestic theme, characterized by its rhythmic drive and melodic elegance.
Throughout the movement, there is a dynamic interplay between the piano and orchestra. Themes are passed back and forth between the soloist and the ensemble, showcasing Mozart’s skillful orchestration and his ability to create dialogue between different musical elements.
The first movement is characterized by its sense of forward momentum and dramatic tension. There are moments of virtuosic display for the piano soloist, as well as moments of lyrical beauty and introspection. Mozart’s use of contrasting themes and textures keeps the listener engaged, building anticipation for the development and resolution of musical ideas.
2. Larghetto
The second movement of Mozart’s Piano Concerto No. 26 is a Larghetto, which translates to “rather broad” or “broadly.” It contrasts with the lively energy of the first movement, offering a moment of lyrical beauty and introspection.
In this movement, Mozart showcases his gift for writing melodies that are both poignant and expressive. The piano soloist takes center stage, delivering a melody that is tender and heartfelt. The orchestra provides a delicate accompaniment, adding warmth and depth to the overall sound.
The second movement is characterized by its lyrical simplicity and emotional depth. Mozart explores themes of introspection and contemplation, creating a sense of intimacy between the listener and the music. The melody unfolds with a sense of grace and elegance, inviting the listener into a world of quiet reflection.
Throughout the movement, there are moments of harmonic richness and chromaticism that add depth and color to the musical landscape. These moments of harmonic tension and resolution enhance the emotional impact of the music, drawing the listener deeper into its emotional core.
3. Allegretto
The third movement of Mozart’s Piano Concerto No. 26 is an Allegretto, which translates to “moderately fast” in Italian. It serves as the lively conclusion to the concerto, bringing the work to a spirited and celebratory close.
In this movement, Mozart returns to the energetic and playful mood established in the first movement. The piano and orchestra engage in a lively dialogue, exchanging musical ideas with virtuosic flair and rhythmic precision.
The third movement is characterized by its exuberant themes and rhythmic vitality. Mozart’s writing for the piano is particularly dazzling, with passages of rapid scale runs and intricate figuration that showcase the soloist’s technical skill and agility.
Throughout the movement, there are moments of contrast and variation, as Mozart explores different musical textures and colors. The orchestra and piano engage in playful exchanges, building to a thrilling climax before bringing the concerto to a triumphant close.
Encore: Frédéric Chopin’s Impromptu No. 1
Frédéric Chopin’s Impromptu No. 1 in A flat major, Op. 29. The “first” Impromptu was composed in 1837. It is in three parts, the middle being in the key of F minor. A perpetuum mobile in triplets accompanies the piece.
Aimi Kobayashi
Aimi Kobayashi (born September 23, 1995) is a Japanese classical pianist. She started learning the piano at the age of three, played with an orchestra at age seven, and has been receiving tutelage from Yuko Ninomiya since the age of eight. She gave her first abroad orchestral concert in 2006 when she was 11 (the concert above).
Kobayashi’s awards include three Yamaguchi Prefecture “Glory Culture Prize” and the special Frédéric Chopin passport from the Polish government. She has performed in France, Brazil, Poland, Russia, South Korea, the United States, and Japan in venues such as the Salle Cortot (Paris), Svetlanov Hall (Moscow), Suntory Hall (Japan), and all three halls of the Carnegie Hall Complex (New York City). AADGT (the American Association for Development of the Gifted and Talented), a New York-based non-profit organization, has supported Kobayashi for many years.
Sources
- Aimi Kobayashi on Wikipedia
- Piano Concerto No. 26 (Mozart) on Wikipedia
- Moscow Virtuosi on Wikipedia
- Impromptu No. 1 (Chopin) on Wikipedia
- Piano Concerto No. 26 in D major, K.537 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Wolfgang Amadeus Mozart’s Piano Concerto No. 26 in D, K. 537 “Coronation” on the L.A. Phil website
