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MOZART: Piano Concertos Nos. 1, 2, 3 and 4



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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. 41



The 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 remarkable homogeneity of galantstyle, the German style that had begun to dominate in Paris, as Leopold Mozart explained.

The material is arranged and expanded by Mozart to provide music for his own use on tour,and it seems to have been these works that he played in Brno in December 1767, an eventrecalled by a diarist of the time, and referred to by another who records Leopold Mozart'sapproval of the abilities of the Brno musicians who accompanied the performance. Theconcertos were not simply exercises, corrected in one or two places by the vigilantLeopold Mozart, but part of the stock-in-trade of a travelling virtuoso.



Jeno Jando


Jendo Jando was born at Pecs, in south Hungary, in 1952. Hestarted to learn the piano when he was seven and later studied at the Ferenc Liszt Academyof Music under Katalin Nemes and pal Kadosa, becoming assistant to the latter on hisgraduation in 1974. Jando has won a number of piano competitions in Hungary and abroad,including first prize in the 1973 Hungarian Piano Concours and a first prize in thechamber music category at the Sydney International Piano Competition in 1977. In additionto his many appearances in Hungary, he has played widely abroad in Eastern and WesternEurope, in Canada and in Japan. He has recorded all Mozart's piano concertos and sonatasfor Naxos. Other recordings for the Naxos label include the concertos of Grieg andSchumann as well as Rachmaninov's Second Concerto and Paganini Rhapsody and the completepiano sonatas of Beethoven.



Concentus Hungaricus


The Concentus Hungaricus was established in February 1985 byPeeter Popa and consists of leading members of the Budapest Symphony Orchestra under theco-leadership of Ildiko Hegyi and Pal Andrassy. The 16 member ensemble has worked withleading Hungarian and foreign musicians, including Vilmos Tatrai, Andras Mihaly, MiklosPerenyi, Denes Kovacs, Jeno Jando, Gyorgy Pauk and Viktoria Jagling, and performsfrequently at home and abroad. The repertoire of the group ranges from Purcell and Corellito Schoenberg, Bartok and Alban Berg, while recordings include extensive studio work andreleases by Hungaroton and Naxos.



Ildiko Hegyi


The violinist Ildiko Hegyi was born in Budapest and studiedthere at the Ferenc Liszt Academy of Music before continuing her studies in Leningrad (St.

Petersburg) under Borisz Gutnyikov. She was a member of the prize-winning Eder Quartet,with which she toured the Far East, the United States of America and Western Europe, andleader of the Budapest Chamber Ensemble. Since 1985 she has been leader and principalsoloist with the Concentus Hungaricus and since 1990 has been leader of the HungarianRadio Orchestra (Budapest Symphony Orchestra).

Facts
Item number 8550212
Barcode 730099821223
Release date 12/01/1999
Category Classical
Label Naxos Classics
Media type CD
Number of units 1
Performers
Artists Jando, Jeno
Jando, Jeno
Composers Mozart, Wolfgang Amadeus
Mozart, Wolfgang Amadeus
Conductors Hegyi, Ildiko
Hegyi, Ildiko
Orchestras Hungaricus, Concentus
Hungaricus, Concentus
Producers Toth, Ibolya
Toth, Ibolya
Disc: 1
Piano Concerto No. 4, G major, K. 41
1 Allegro
2 Andante
3 Allegro
4 Allegro spiritoso
5 Andante
6 Molto allegro
7 Allegro maestoso
8 Andante
9 Presto
10 Allegro
11 Andante
12 Molto allegro
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