Despite its complexity, the particular appeal of Mozart’s Concerto in D-minor, K. 466, is easy to understand: It is only one of two written in a minor key, and the most overtly dark, dramatic and passionate work.
Historically, these were essential ingredients, as they appealed directly to the romanticized taste of the nineteenth century, which dismissed Much of Mozart’s other works as those of a trite stylist.
From the opening bars which are driven by syncopated figure in the strings, one is aware that this performance is going to be a special treat. After all the orchestral introduction, the piano entrance sounds almost from another world.
The orchestra partners with the pianist at every point where it plays. This is not merely piano with orchestra accompaniment but a project that involves every player working together to the nth degree.
Listen closely and you’ll understand:
