The photographs were taken on walks at Innisfree Garden, October 7 and 11, 2015. I’ll be offline more than on for several days. I look forward to hearing from anyone who happens by, though I may be delayed in responding to comments.
In addition to the Mozart selection in this post’s listening list, it’s piano concerto month (October 16-November 15) at the Great Composers Appreciation Society. The line-up is below, and you can join in here:
Week 1: J. S. Bach: Keyboard Concerto in D minor BWV 1052 & one by his son C P E Bach
Week 2: 2 piano concertos by W. A. Mozart (No. 5, K175 and No. 22, K 482, which is featured on this post)
Week 3: Tchaikovsky: Piano Concerto No. 1
Week 4: Benjamin Britten: Piano Concerto
Postscript: In the course of the discussions at GCAS, I remarked on the “conversational” approach the the concerto in Mozart’s No. 22 (K 482) and, with the help of liner notes on the concerto, made an effort to attach some time stamps to the video offered here that I thought demonstrated this. (Unfortunately, since I wrote this the video performance against which I identified time stamps is no longer available, so the time stamps below may well not match.) My comment is below and may also be found at this link, where you can also find excerpts from the liner notes, as well as the lively (not to mention wide-ranging) discussion that ensued.
Tonight I revisited Mozart’s PC 22 (K 482), and how interesting to listen to it fresh on the heels of our Romantic concerto. Even more striking to me than before is its conversational approach. The solo fortepiano passages never stray far from the orchestra’s, as is further emphasized by prominent solo, duet, and small ensemble passages for other instruments in the orchestra. The delicious anticipation of the fortepiano’s return to the orchestral fold is ever-present, including during cadenzas. While I am not aware, technically, of all the ways in which this occurs, I feel confident in stating that every single aspect of the composition—harmony, rhythm, thematic material, the lot—is elegantly constructed to achieve this effect.
For me, the second movement particularly highlights the conversational approach. Per the liner notes I posted earlier here, this movement is a “fusion of variation and rondo forms, and its structure is clarified through contrasts in scoring.” Below is my attempt to time stamp some of this—those who know better, please do correct any errors:
13:30 mvmt begins
16:09 wind serenade
17:04 piano cadenza
18:06 flute/bassoon duet with strings
18:54 piano returns
20:22 winds enter
The third movement, per the liner notes, is a “hunting rondo” with a minuet at its center, rather than the development one might expect. In another example of conversational interplay among the fortepiano and other instruments, there’s a lovely passage beginning at about 29:08 where a motif travels through solo oboe, flute, and piano. Here’s my attempt at some time stamps of this movement:
21:55 mvmt begins
28:50 return to hunting rondo (oboe, flute, piano play same motif at 29:08)
The photographs, as always on the blog unless otherwise indicated, are mine.