It is probably Mozart's most frequently performed concerto: the Piano Concerto No. 23 in A major (K. 488). Here, the solo part is played by Fabian Müller, who also conducts The Trinity Sinfonia. The concert took place on September 19, 2024 at the Beethovenfest Bonn in the auditorium of Bonn University.
(00:00) I. Allegro
(10:11) II. Adagio
(17:02) III. Allegro Assai
On March 2, 1786, Wolfgang Amadeus Mozart (1756 - 1791) entered a concerto in A major into the “Catalogue of all my works”. This is all that is known about the genesis of the Piano Concerto No. 23 in A major (K. 488). Initial work on the first movement of the concerto probably took place as early as 1784/85. The place and date of the first performance are also not known, but it can be assumed that Mozart himself played the solo part. As a piano virtuoso, the classical composer naturally wrote his great piano works first and foremost for himself.
This piano concerto, however, is not merely about showcasing the pianist's virtuosity. Rather, there is a balanced and equal exchange between orchestra and soloist. In Baroque music in particular, a concerto did primarily serve to showcase the virtuosity of the instrumental soloist. The role of the orchestra was generally subordinate. But this model gradually gave way to more of a “partnership” approach to music-making. Mozart's Piano Concerto K. 488 represents a high point in this development.
The first movement of the Concerto in A major begins quite “classically” with two themes, one cheerful and the other lyrical, which are introduced by the orchestra and repeated and varied by the piano. Later a third theme comes into play (4:31), which defines the further course of the development. Mozart composed the solo cadenza that comes shortly before the end of the first movement very precisely (9:18).
The second movement is a melancholy adagio in the style of a siciliano, a shepherd's dance already common in Baroque music. Due to the rare key of F-sharp minor, the slow movement has a distinctive sound and seems like a lament. In the cheerful middle section, the flute and clarinets introduce the theme. Shortly afterwards, the plaintive mood of the beginning unfolds again.
The final movement begins abruptly. In form, it is a rondo. Its optimistic cheerfulness is in stark contrast to the middle movement. The cheerfulness intensifies at the end and is reminiscent of opera buffa (comic opera). Perhaps Mozart was thinking of his opera The Marriage of Figaro which he was working on at the same time.
Fabian Müller has established himself as one of the most remarkable pianists and conductors of his generation. He caused a sensation in 2017 at the International ARD Music Competition in Munich, where he won five prizes. In 2018, he made his debut at New York’s Carnegie Hall with the Bavarian State Orchestra and performed at the Elbphilharmonie for the first time. At the invitation of Daniel Barenboim, he performed all of Beethoven’s piano sonatas at the Pierre Boulez Saal in Berlin, and also performed at London’s Wigmore Hall. Müller regularly performs with major orchestras such as the Tonhalle Orchestra Zurich, the Bavarian Radio Symphony Orchestra and the Deutsche Kammerphilharmonie Bremen. His lively interest in the music of Johann Sebastian Bach has led him to a long-term collaboration with the Berliner Barock Solisten, an ensemble of the Berlin Philharmonic Orchestra. In search of his own ideal sound, he founded his own chamber orchestra which we hear here: The Trinity Sinfonia.
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If you are interested in the other pieces from this concert at the Beethovenfest Bonn 2024, you can find them here:
https://www.youtube.com/watch?v=ciBCOmNhXZ4&t=1103s
https://www.youtube.com/watch?v=Bw9qnZkhGtk&t=1685s
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