Mozart Piano Concertos
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Mozart Piano Concertos, compositions by Wolfgang Amadeus Mozart not only numerous in quantity and excellent in quality but also standing very early in the existence of the genre and, indeed, of the piano itself. Mozart’s 27 concerti for solo piano and orchestra, composed between 1767, when he was only 11, and 1791, the last year of his life, served as a standard model for composers of his and following generations. When Ludwig van Beethoven first came to Vienna shortly after Mozart’s death, Mozart’s concerti figured prominently in his concert repertoire.
Italian craftsman Bartolomeo Cristofori first began to develop that which would become known as the piano in 1711. Years would pass before the instrument became practical, and decades before the new creation became widely popular. So it would fall to Mozart (1756–91) to be the first composer to show what the instrument could really do, especially when combined with orchestra. Many of his concerti announce themes and orchestrations that he would later employ in his symphonies and operas.
Mozart’s fascination with the piano concerto parallels Europe’s interest in the piano itself. In the composer’s early years, pianos were still regarded as new inventions. Harpsichords, which had been the stars of the Baroque era, were as yet highly regarded. However, the greater power and versatility of the piano gradually gave it precedence over its more delicately voiced ancestor.
Some of Mozart’s predecessors, notably Franz Joseph Haydn (1732–1809), had composed piano concerti. However, Mozart was, by most accounts of the time, a truly superior pianist with an active solo career, and thus in need of new works for his concerts. He wrote his first piano concerto at the age of 11, and his last less than a year before his death.
Mozart’s piano concerti—he also wrote at least five violin concerti—fall structurally into three movements, the first usually the most complex and longest, followed by a slower, quieter second movement and then a rondo or sonata. Considering the entire range of these works shows how Mozart’s style developed, and it shows how the Classical style as a whole came into being, for his earliest piano concerti are close adaptations of Baroque sonatas, with relatively simple orchestral parts and somewhat unambitious piano parts. By contrast, Mozart’s final few works in the genre hint at the passion and power that would become popular with the beginning of the 19th century. As Mozart and his concerti matured, so music history reached a new stage of development.
Of the following listing, only multi-movement works for piano and orchestra are included. Mozart also composed a number of single movement works for that scoring, though due to their brevity, these are not usually counted as full concerti. The three concerti cataloged by Ludwig Ritter von Koechel as #107 are not generally included in the standard numbering, so although one usually reads of Mozart’s 27 piano concerti, there are more accurately 30, even excluding the single-movement works. By the time that Mozart was in his mid-20s, he had developed the commendable habit of writing specific completion dates on his manuscripts, allowing for even more accurate dating of these works.
A list of concerti follows:
- Piano Concerto in D Major, K. 107, No. 1 (arrangement from other composers’ solo sonatas, 1772)
- Piano Concerto in G Major, K. 107, No. 2 (arrangement from other composers’ solo sonatas, 1772)
- Piano Concerto in E-flat Major, K. 107, No. 3 (arrangement from other composers’ solo sonatas, 1772)
- Piano Concerto No. 1 in F Major, K 37 (arrangement from other composers’ solo sonatas, April 1767)
- Piano Concerto No. 2 in B-flat Major, K. 39 (arrangement from other composers’ solo sonatas, June 1767)
- Piano Concerto No. 3 in D Major, K. 40 (arrangement from other composers’ solo sonatas, July 1767)
- Piano Concerto No. 4 in G Major, K 41 (arrangement from other composers’ solo sonatas, July 1767)
- Piano Concerto No. 5 in D Major, K. 175 (December 1773)
- Piano Concerto No. 6 in B-flat Major, K. 238 (January 1776)
- Piano Concerto No. 7 in F Major, K. 242 (three pianos) (February 1776)
- Piano Concerto No. 8 in C Major, K. 246 (April 1776)
- Piano Concerto No. 9 in E-flat Major, K. 271 (January 1777)
- Piano Concerto No. 10 in E-flat Major, K. 365 (two pianos) (1779)
- Piano Concerto No. 11 in F Major, K. 413 (1782–3)
- Piano Concerto No. 12 in A Major, K. 414 (1782)
- Piano Concerto No. 13 in C Major, K. 415 (1782–3)
- Piano Concerto No. 14 in E-flat Major, K. 449 (February 9, 1784)
- Piano Concerto No. 15 in B-flat Major, K. 450 (March 15, 1784)
- Piano Concerto No. 16 in D Major, K. 451 (March 22, 1784)
- Piano Concerto No. 17 in G Major, K. 453 (April 12, 1784)
- Piano Concerto No. 18 in B-flat Major, K. 456 (September 30, 1784)
- Piano Concerto No. 19 in F Major, K. 459 (December 11, 1785)
- Piano Concerto No. 20 in D Minor, K. 466 (February 10, 1785)
- Piano Concerto No. 21 in C Major, K. 467 (March 9, 1785)
- Piano Concerto No. 22 in E-flat Major, K. 482 (December 16, 1785)
- Piano Concerto No. 23 in A Major, K. 488 (March 2, 1786)
- Piano Concerto No. 24 in C Minor, K. 491 (March 24, 1786)
- Piano Concerto No. 25 in C Major, K. 503 (December 4, 1786)
- Piano Concerto No. 26 in D Major, K. 537, “Coronation” (February 24, 1788)
- Piano Concerto No. 27 in B-flat Major, K. 595 (January 5, 1791)