Mozart: Piano Concertos Nos. 1, 2, 3 And 4

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Cat No: 8550212

Release Date: 12 January 1999

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 730099821223

Genres: Classical

Composer/Series: MOZART

Description
Wolfgang Amadeus Mozart (1756 - 1791)Piano Concerto in F Major, K. 37 Piano Concerto in B Flat Major, K. 39 Piano Concerto in D Major, K. 40 Piano Concerto in G Major, K. 41The four pasticcio-concertos of Mozart are based on materialdrawn, as far as sources have been identified, from the works of composers he had metabroad, chiefly during his time in Paris in 1763 and 1764 and again in 1766. The first ofthem, K. 37 in F major, was written in Salzburg in April 1767 and is scored for pairs ofoboes and horns with strings and pianoforte or cembalo (harpsichord). The first movementand four other movements from these early Mozart concertos are taken from a set of sixsonatas for keyboard with violin accompaniment published in Paris in 1756 by the Germanmusician Hermann Friedrich Raupach, former Kapellmeister in St. Petersburg, whom Mozarthad met in Paris in 1763/4 and with whom he had improvised at the keyboard, sitting on hisknee, as he was later to do with Johann Christian Bach in London. The C major Andante isborrowed from an unknown composer, and the final Allegro from the Strasbourg musicianLeontzi Honauer, who was among those German composers leading the way in publication inParis, as Leopold Mozart relates in a letter home to the wife of his Salzburg landlord.The second concerto, K. 39in B flat major, was written in June 1767, with a first and last movement againtaken from Raupach and an Andante based on a movement by Johann Schobert, a harpsichordistand composer much admired in Paris at the time. Schobert, who died, with his French wifeand one of his two children, in 1767 from eating poisonous mushrooms, w rote music ofconsiderable charm, which Mozart seems to have admired well enough, although LeopoldMozart found the man jealous and insincere. The movement used here contains ideas which gosome way towards explaining Mozart's approval. The concerto is scored for the usualorchestra of two oboes, two horns and strings.The D major concerto, K. 40, after a first movement based onHonauer, has recourse to an even greater Parisian master of the period, Johann GottfriedEckard, who had settled in Paris in 1758, remaining there until his death in 1809. Eckard,who had learned much from the writing of Carl Philipp Emanuel Bach, was an early supporterof the piano, as opposed to the harpsichord and distinguished as a performer and master ofimprovisation. The third movement is arranged from C.P .E. Bach's portrait piece LaBoehmer, which had appeared in the early 1760s in the Musikalisches Mancherley. Theconcerto is scored for pairs of oboes, horns and trumpets, and the usual strings, andincludes cadenzas written by the composer. The fourth concerto, K. 41,in G major, is based in its outer movements on Honauer and in the central Gminor Andante on Raupach. It is scored for pairs of flutes and horns in addition to theusual strings and was written out, like K. 39, in July 1767. It concludes a group ofconcertos that demonstrate, in view of their origin, the remarka
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