Among his piano concertos, the No. 25 ranks high on the list for its sublime integration of the composer’s many amazing gifts. The opening is marked maestoso, but numerous other qualities beyond mere majesty are soon apparent.
Ample use of the wind instruments reminds us of Mozart’s amazing gift for orchestration, not just in the opening movement, but throughout the concerto. Mozart left us no cadenza for the first movement, which allows soloists to choose one by another performer, or to prepare and perform their own.
Contrast is an essential element in Mozart’s ideas, and the second movement of this concerto provides an amazing demonstration of this fact.
Echoing standard practice in his opening movements, Mozart begins the Finale with a full statement of themes by the orchestra. As usual in Mozart’s concerto finales, the ensuing scenario is disrupted by surprises along the way.
Here is pianist Mitsuko Uchida, who studied piano in Vienna during her childhood, to demonstrate these magical sounds for your enjoyment:
