Mozart completed the Piano Concerto No. 22 in E-flat major on December 16, 1785 as he was approaching the height of his popularity in Vienna. Almost simultaneously, he had been working on the score to The Marriage of Figaro. The following spring, the opera would prove so popular that Emperor Joseph had to limit encores of individual numbers during performances.
Though opera was the most prestigious genre of music, piano concertos formed the bread and butter of Mozart’s career at the time, and his performances of his own works were in high demand. Michael Kelly, an Irish tenor who originated the roles of Basilio and Don Curzio in The Marriage of Figaro, left a vivid description of Mozart’s piano technique from this time: “His feeling, the rapidity of his fingers, the great execution and strength of his left hand particularly, and the apparent inspiration of his modulations, astounded me.”
As far as we know, Mozart likely performed this particular concerto at least three times during his life: twice within a few weeks of its completion and again during a series of subscription concerts the following Lent. Apart from Mozart’s usual formal perfection and melodic genius, this concerto is especially noteworthy for its colorful woodwind writing, which employs clarinets in place of the oboes expected in an orchestra of this era.
While the entire concerto is fabulous, pay particular attention to the joy of the last movement:
