Mozart: Piano Concerto No. 9 in E-flat Pianist – Maria João Pires

Mozart in 1777, the year this concerto was composed, by an unknown artist.

Mozart in 1777, the year this concerto was composed, by an unknown artist.

Three months ago, in my post of September 30, I linked to a video of pianist Maria João Pires expecting to play one Mozart concerto, only to discover that the conductor had a completely different one in mind.  That Ms. Pires was able to recover from the shock and play the second concerto – without the score – speaks volumes about her memory, and her presence of mind as well.

Having listened to her magnificent performance of the “surprise” concerto, I now want to present Ms. Pires performing the concerto she was expecting to play that day: Mozart’s Concerto No. 9 in E-flat, now called the “Jenamy”.  But first, a word about its subtitle, courtesy of Wikipedia:

The work has long been known as the Jeunehomme Concerto. [In fact, that’s how I referred to it in September. – DR]  Théodore de Wyzéwa and Georges de Saint-Foix claimed that Mozart wrote the piece for a French pianist ‘Jeunehomme’ visiting Salzburg.  This name is however incorrect; in 2004 Michael Lorenz demonstrated that the name was actually Victoire Jenamy (1749–1812), a daughter of Jean-Georges Noverre, a dancer who was one of Mozart’s friends.  Mozart had made Victoire Jenamy’s acquaintance during his stay in Vienna in 1773.

The interested reader will find much more information online from Michael Lorenz about discovering the correct subtitle for this concerto, but more interesting to me is what he has to say about the piece itself:

Mozart’s Piano Concerto K. 271 “Jenamy” can be described as a miracle of musical originality.  In the mastership of its orchestration, its stupendous innovative energy and its effect, despite limited instrumental means, this piece has absolutely no precedent.  It is Mozart’s first great composition, “his Eroica” as Alfred Einstein put it, “which he later would match, but never surpass.”

I can add little to that, except to say that this concerto is a joy from beginning to end.  Listening to it, I am struck over and over by the charm and elegance of the first movement, the surpassing tenderness of the second, and the jaunty exuberance of the third, which seems to go on and on in an ecstasy of imagination.  I’m especially grateful for the glorious sound in the attached video, in which John Eliot Gardiner conducts the Vienna Philharmonic Orchestra.

The three movements of the concerto, and their start times in the video, are as follows:

1. Allegro – 0:09
2. Andantino – 10:43
3. Rondo (Presto); Menuetto (Cantabile) – 22:06

Published in: on December 31, 2016 at 12:25 pm  Comments (2)  
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Mozart: Piano Concerto No. 20 in D minor Pianist – Maria João Pires

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

Imagine for a moment that you are an internationally renowned concert pianist and that you have been engaged to play a Mozart concerto with the Amsterdam Concertgebouw Orchestra.  Your first run-through with the orchestra is taking place not in the privacy of an empty concert hall, but at a lunchtime concert before the Amsterdam public.  Confident in your preparation and years of experience, you take your seat at the piano.  The conductor raises his baton, gives the downbeat, and the orchestra begins to play… the wrong concerto!

That’s the sort of thing nightmares are made of, but it’s exactly what happened to Maria João Pires at a 1999 concert conducted by Riccardo Chailly.  She was expecting to play Mozart’s Concerto No. 9 in E-flat, known as the “Jeunehomme”, but there was a miscommunication somewhere, and the orchestra launched into the Concerto No. 20 in D minor instead.  Pires’ shock and dismay – and her remarkable recovery – were captured by a documentary film crew in this unforgettable clip:

This video was my introduction to this extraordinary work, and watching it, I was captivated by Pires and her playing.  Certainly, the drama of her plight intensifies the drama of the beginning of this concerto, which is described elsewhere by Chailly as evoking “a feeling of nowhere, loneliness, and despair.”  I couldn’t wait to hear the whole piece, and was delighted to find the video below, in which Pires plays with the Berlin Philharmonic conducted by Pierre Boulez.

One of the most rewarding aspects of this blog has been the new music I have been exposed to while writing it, and the extent to which that music has enriched my life.  Nowhere is this more true than in the concerto presented here.  I wrote in 2011 about how, with Mozart, I often feel like I’m on the outside looking in at a party to which everyone has been invited except me.  I’m happy, and in some sense humbled, to report that with this concerto, the door to that party may finally have opened.  I already have more Mozart in mind for future posts.

A note about the cadenzas: Numerous composers have written cadenzas for this concerto, including Brahms, Busoni, and Beethoven, who played this concerto himself and who wrote the two cadenzas performed here.  They are, incidentally, the only cadenzas Beethoven ever wrote for a concerto composed by someone else.  Pires had some interesting things to say about them in an interview with Wesley Horner:

Wesley Horner: Beethoven wrote the cadenzas that you will perform.

Maria João Pires: This is the important thing about this concerto for me.  I think Beethoven wrote the cadenzas because he chose this as his favorite concerto for sure.  It became so much of what he himself could identify with.  The character of this concerto is so dark and strong and full of energy – very much like Beethoven.  So I think the cadenzas are wonderful.

Wesley Horner: How does it change the concerto to have these cadenzas written by Beethoven?

Maria João Pires: It gives a support to the concerto.  Beethoven could see exactly the character of the concerto.  He loved it because he could also feel it himself, and he wrote the cadenzas that make it strong, this dark side.

Wesley Horner: And he was still able to perform at that point.

Maria João Pires: Exactly, yes, yes.

In the video that follows, the first movement cadenza begins at 11:38, and the third movement cadenza at 29:00.

Published in: on September 30, 2016 at 12:57 pm  Leave a Comment  
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