The Magic of Mozart: The Viennese Piano Concertos

by Georg Predota, Interlude

The series of piano concertos Wolfgang Amadeus Mozart composed during his years in Vienna is undoubtedly his greatest achievement in instrumental music. The dozen piano concertos composed between February 1784 and December 1786 are works of the highest quality and originality. According to Maynard Solomon, “their artistry goes far beyond the concertos of his predecessors or his contemporaries in their scale, their thematic richness and their highly developed relationship between soloist and orchestra.”

Joseph Lange: Mozart at the keyboard (unfinished), 1789 (Mozart-Museum, Mozarts Geburtshaus)

Mozart essentially created a unique conception of the piano concerto as he was looking to solve the problem of how the thematic material is to be divided between the piano and the orchestra. In these later works, Mozart “strives to maintain an ideal balance between a symphony with occasional piano solos and a virtuoso piano fantasia with orchestral accompaniment.” Mozart’s solutions are non-formulaic as each concerto, although unmistakably resembling its siblings, is a thoroughly individual response.

The Viennese piano concertos are probably the most personal works Mozart ever conceived, as they were composed for his own public performances. As we commemorate Mozart’s death on 5 December, let us explore some of these most important works of their kind. 

Wolfgang Amadeus Mozart sent his father the list of subscribers who paid an entrance fee of six gulden for three concerts at the Trattnerhof on 20 March 1784. “Here you have the list of all my subscribers,” he writes, “I have 30 subscribers more than Richter and Fischer combined. The first concert on March 17th went off very well. The hall was full to overflowing, and the new concerto I played won extraordinary applause. Everywhere I go, I hear praises of that concerto.”

The concerto in question was Mozart’s K. 449, and Mozart had gotten involved in subscription concerts via his colleague Franz Xaver Richter. Richter had rented a hall for six Saturday concerts, and the nobility subscribed. However, as Mozart writes, “they really did not want to attend unless I played. So Richter asked me to play. I promised him to play three times and then arranged three subscription concerts for myself, to which they all subscribed.”

Mozart suggested that K. 449 “is one of a quite peculiar kind,” and he called it a happy medium between what is too easy and too difficult. In fact, K. 499 is rather intimate chamber music with the “Allegro Vivace” exploring the tensions between the major and minor tonalities. An exquisitely expressive “Andantino” gives way to a dazzling rondo featuring much contrapuntal wizardry. 

The Piano Concerto No. 17, K. 453 is one of only two by Mozart to have been written for a player other than himself. In fact, it was written for his student Barbara Ployer, daughter of Gottfried Ignaz von Ployer, a Viennese emissary to the Salzburg court. Ployer was a fine pianist and she soon became one of Mozart’s favourite students. He also provided her with counterpoint instructions, and he asked her to come up with musical ideas of her own. Leopold Mozart was not impressed and wrote, “You want her to have ideas of her own—do you think everyone has your genius?”

Mozart monument in Vienna

The orchestration of this concerto is notable for the independence Mozart provided to the woodwinds. Clearly, Mozart could rely on a much higher standard of the orchestral winds than he had experienced in Salzburg. The prominence of the winds is dramatically demonstrated in the second movement, which opens with a serene theme in the strings that comes to a dramatic and operatic stop. This is followed by an extended episode in which the strings play backup for the solo flute, oboe, and bassoon.

The opening movement unfolds in a relaxed and almost casually expressive mood. One gorgeous melody seems to chase the next, and the contrasting theme ventures into unexpected tonal areas. Instead of the expected rondo, the finale presents five variations on a simple tune but then pauses and seemingly jumps into an entirely new movement. Barbara Ployer played the premiere in June 1784.

Mozart benefited artistically and financially from his subscription concerts. And he certainly enjoyed his time as the darling of the Viennese concert scene. The Piano Concerto No. 19 premiered in the spring of 1785, possibly one of the busiest periods of Mozart’s life as a performer. Leopold came for a ten-week visit and was struck by the level of activity. “Every day, there are concerts, and the whole time is given up to teaching, music, composing and so forth. Since my arrival, your brother’s fortepiano has been taken at least a dozen times to the theatre or some other house.”

As Alfred Brendel writes, “the first movement of K. 459 is remarkable; no other movement in the whole series of twenty-three piano concertos evinces such subordination on the part of the piano to the orchestra: purely solo passages are rare, and for much of time the solo instrument is occupied in providing an accompaniment to various sections of the orchestra, notably the woodwinds.” That opening movement, unusually, also relies entirely on one theme, a march-like melody that dominates proceedings.

The slow movement forgoes a development section and sounds like a close collaboration among the soloist, the strings and the winds. That dialogue between the instrumental forces culminates in a final coda. The sonata-rondo finale seems a fitting conclusion as it playfully takes us into the world of opera buffa. 

Mozart entered the Piano Concerto in D Minor, K. 466, in his new catalogue of compositions on 10th February 1785. It is the first of his piano concertos in the minor key. To be sure, the minor tonality adds a new dimension of high seriousness to the form, a mood immediately heard in the dramatic orchestral opening. The concerto is scored for trumpets and drums, as well as the now usual flute, pairs of oboes, bassoons and horns, with strings, and the violas divided.

Leopold Mozart was present at the premiere, and he wrote to his daughter, “We drove to Wolfgang’s first subscription concerto, at which a great many members of the aristocracy were present… Then we had a new and very fine concerto by Wolfgang, which the copyist was still copying when we arrived, and the rondo of which your brother did not even have time to play through as he had to supervise the copying.” Isn’t it amazing that in about three weeks, Mozart was able to write the most perfect and most passionate of concertos?

Mozart’s Piano Concerto No. 20 autograph score

The D-minor concerto was a turning point as it was Mozart’s first “symphonic” concerto. The orchestra is given a completely equal position, and the wind parts become even more weighty. The sense of drama is evident in the large-scale orchestral introduction, and many of the piano parts would comfortably fit into an operatic seria. However, they are much more than just a beautiful melody. A noted performer writes, “Mozart probably found in D minor the threatening and demonic colouring he was looking for. A very personal statement!” 

Mozart completed his 21st Piano Concerto in C Major, K. 467, on 9 March 1785, exactly a month after the premiere of his first concerto in the minor key. Contrary to the dramatic narrative of K. 466, the C-Major Concerto is a work filled with humour that focuses on elegant simplicity. A critic reported that Mozart’s playing “captivated every listener and established Mozart as the greatest keyboard player of his day.” Leopold Mozart added that the work was “astonishingly difficult,” and it would be the last time that father and son would actually see each other.

Presently, this concerto is known as the Elvira Madigan Concerto because the use of the second movement contributed strongly to the mood of the film of that name. The work opens quietly, with unison strings setting an opera buffa stage. There is an air of anticipation as the winds once again play an important role. They initiate little fanfare, double the strings, or even capture centre stage with melodic interjections. The soloist enters with new and independent ideas and then follows its own path.

Soloist and orchestra have a unique relationship here as both forces seem primarily concerned with their own material. As Donald Francis Tovey writes, “In no other concerto does Mozart carry so far the separation between the two… Mozart has succeeded in making the piano as capable a vehicle of his thought as the orchestra.” The dream-like and elegant second movement provides for a nocturnal atmosphere, while the concluding “Rondo” returns us to the opening mood. Mozart borrowed a theme from his concerto for Two Pianos, K. 365, and the entire movement is based on that witty tune with plenty of scope for soloists and the orchestra to show their brilliance. 

Mozart completed his Piano Concerto in A Major, K. 488, on 2 March 1786. It was designed for use in a series of three subscription concerts that Mozart had arranged for part of the winter season. Simultaneously, Mozart was busy working on his first Italian opera for Vienna, Le nozze di Figaro. Yet, times had changed. Only three years earlier, the Viennese public had lavishly acclaimed the piano concertos by the young virtuoso; now, they sought musical entertainment elsewhere.

The concerts were not well subscribed, but Mozart nevertheless went ahead “believing that he could seduce the public with his unquenchable ability to come up with something new and tantalising.” K. 488 has remained popular and frequently performed as it creates a sense of weightlessness. And the role of the piano becomes even more versatile. It functions as a solo instrument and accompanies the orchestra, but it also integrates into the orchestra. In a sense, it functions as an orchestral instrument.

In his orchestration, Mozart replaced the bright-toned oboes with clarinets, providing a much darker colouration. This is particularly evident in the passionate and richly chromatic slow movement in the unusual key of F-sharp minor. However, the orchestration remains essentially intimate, as Mozart foregoes trumpets and drums. The chamber-music feeling of the first two movements is reinforced by active interchanges between the woodwinds. The soloist initiates an extensive rondo finale that has the character of a fast stretta, all ending in a buffo-like coda. 

The second piano concerto in the minor key, the Concerto in C-minor, K. 491, was completed on 14 March 1786. It is scored for clarinets and oboes, flutes, pairs of bassoons, horns, trumpets and drums, and strings. It opens with an ominous theme that Beethoven would subsequently use as the inspiration for his C-minor Piano Concerto. A sense of foreboding permeates the entire movement, disturbed only momentarily by the tranquillity of the second theme.

Piano Concerto C minor K. 491 by W. A. Mozart

The ”Larghetto” movement opens in the major key, and episodes are framed by the principle melody. However, the music is soon led into the minor key by the woodwind, and a ray of serenity returns us to the opening. Mozart concludes this masterwork with a set of variations.

Piano Concerto No. 27 in B-flat Major, K. 595

Mozart completed the cycle of twelve Viennese concertos in December 1786. He waited almost 14 months to write another piano concerto, the so-called “Coronation.” Another three years passed before he brought this grand series to a close with the B-flat Major Concerto, K. 595. To scholars, this “work stands along, not only in terms of its chronological separation from the other piano concertos but because its content and character make it unique.” It is probably the most deeply personal of all Mozart concertos.

The clearly defined drama of the minor key concertos is replaced by what has been described as “a more personal notably resigned accent” and a feeling of “subdued gravity.” Mozart gave the premiere on 4 March 1791, and it was the last such appearance before the Viennese public. Alfred Einstein wrote, “it was not in the Requiem that Mozart said his last word… but in this work, which belongs to a species in which he also said his greatest.”

Who Was Mozart’s Real Musical Father?

by Janet Horvath, Interlude

Fans of Wolfgang Amadeus Mozart will likely be aware that he was taught, shaped, and influenced by his father Leopold Mozart, a violinist and composer. When Leopold began to teach his seven-year-old daughter Nannerl, in 1759, he discovered that Wolfgang could imitate anything his sister played on the keyboard. Leopold began teaching the little boy, and in no time, Wolfgang made astonishing progress. Leopold, deciding the children’s exceptional talents had to be shown off, organized extensive concert tours of the continent, and the children impressed and amazed kings and queens with their music making.

Leopold Mozart © stringsmagazine.com

Wolfgang met many illustrious musicians while traveling in Europe and encountered the music of George Frideric Handel, Johann Sebastian Bach, Joseph Haydn, and Johann Christian Bach. Wolfgang’s friendship and musical kinship with Johann Christian (J.C.) Bach became pivotal.

Both Wolfgang Amadeus Mozart and Johann Christian Bach, were sons of famous musicians. J.C., the youngest son of Johann Sebastian Bach, was born in Leipzig. The elder Bach was by then fifty years old and in 1750, when J.C. was a young teenager, Johann Sebastian passed away. J.C. traveled to Berlin to live with his older brother and to further his studies in composition and on the keyboard with him, the eminent composer Carl Philipp Emanuel Bach. Johann Christian soon developed into an accomplished performer and composer in his own right. He began to travel widely, eventually settling in Italy.

Portrait of Mozart by Johann Nepomuk della Croce

Captivated by the new musical style he heard in the operatic music there—lyrical, charming, and effortless that shied away from the serious counterpoint of baroque music, J.C. began perfecting Stile galant. It was the music of the future, which introduced simple, graceful phrases that highlighted the melody. Johann Christian’s successful first operas were composed in this elegant style.

Appointed to the position of Music Master to Queen Charlotte, he moved to London in 1762. His reputation increased after writing several successful operas. In 1764 “The English Bach” met and mentored the young eight-year-old Wolfgang and the two enjoyed improvising on the harpsichord. Nannerl, Mozart’s sister, wrote in her letters that Bach would sit Mozart in front of him at the keyboard. J.C. played one bar, then Mozart would elaborate on the next bar, ‘and in this way they played a whole sonata, and someone not seeing it would have thought that only one man was playing’.

Mozart’s predilection for wind instruments originates with J.C Bach. The latter thought the winds should be featured; they should carry the melody and not simply double melodic lines. In fact, J.C. Bach’s earliest opera was the first to include clarinets.

Portrait of Johann Christian Bach in 1776 by Thomas Gainsborough ©

Bach’s keyboard style also greatly influenced Mozart. Naturally Mozart and his sister played keyboard duets throughout their childhood, and Mozart’s sparkling and enchanting compositions for piano four hands and for two pianos will always be celebrated. Piano duos or works for piano four hands are performed on one piano and differ from compositions that are written specifically for two pianos. Mozart wrote his Fugue in C minor K. 426, and his Sonatas in D major K. 448 and in C major K. 545 for two pianos, and many other composers from Ravel to Liszt, and Brahms to Rachmaninoff followed suit.

At the Duo Pleyel concert

It was enlightening to hear the two composers, Mozart and J.C. Bach, juxtaposed, and to hear Bach’s influence firsthand in a recent concert by Duo Pleyel in Austria at the spectacular 12th century abbey Klosterneuburg, in Augustinus Hall. Pianists Alexandra Nepomnyashchaya and Richard Egarr presented a program entitled “Mozart’s Real Musical Father” that alternated Piano Duets by W. A. Mozart and those by J.C. Bach. They performed on a replica of Chopin’s preferred piano, a Pleyel built in 1848.

The duo opened the concert with the Mozart Sonata for Piano 4 Hands in D Major, K. 381. I think you’ll agree the first movement Allegro could not be more beguiling. Within the movement the interlocking melodies alternate from the major and minor key effortlessly, moving from charm to mystery, and from affecting to poignant.

Stift Klosterneuburg

A delightful duo by Johann Christian Bach followed, the Sonata for Piano Duet in A major Op. 18, No. 5. The duo is only two movements. The allegretto is expressive and lyrical, with the two pianos evenly matched singing through beautiful scale passages and ornaments, certainly an example of Stile galant and the compositional style Mozart would emulate.

Mozart’s Five Variations in G Major for Piano Duet, K. 501 was next on the program. Mozart’s wizardry in this brief work of only 7 minutes, is riveting. He highlights and embellishes the initial enchanting melody first in eight notes, then in triplets in the lower piano line, then in sinuous sixteenth notes in the higher register. It’s followed by a slow and weightier variation in the minor key. More virtuosic flourishes follow before the simple version from the introduction returns towards the end and fades out gracefully. It’s masterful.

Acciacatura

The Sonata for Piano 4 Hands in F Major, K. 497 by Mozart begins with an exquisite Adagio before it embarks on a lighthearted Allegro di molto. What could be more beautiful than this opening? Mozart composes with such brilliant panache. Listen for the acciaccaturas – grace notes played as quicky as possible before the main note with the emphasis on the main note, as if little birds are chirping—as well as the speedy turns—a four-note pattern where the main note is played, then the note above, followed by the main note again, and then the note below, and is notated by a sideways ‘S’ symbol.

J.C. Bach Sonata for Piano Duet in F Op. 18, No. 6 followed, a work of only two movements, an Allegro, and a Rondeau-Allegro, which is an animated movement featuring unison playing and short cadenzas. One can hear many similarities in style that Mozart later adopted and perfected.

The concluding piece on the program, W.A. Mozart Sonata for Piano Duet in B-flat, K 358, begins with a lively and vivacious Allegro that highlights scales and unison passages in each of the two parts.

The third movement, a captivating Molto presto, features long passages of repeated notes, light and quick staccato notes, sparkling ornaments, rhythmic accents on the offbeats, low register bombast, all in merely three minutes. It must be so much fun to play, and lovely to listen to.

To hear these piano duos and to see the parallels between the composers in this most enjoyable program was illuminating, and evidence of the musical kinship between J.C. Bach and W. A. Mozart.

Mozart’s Seven Saddest Pieces of Music

Wolfgang Amadeus Mozart is known for his light, elegant, joyful music. His preternaturally cheerful mood makes the times when he did write dark music stand out all the more.

Today, we’re looking at seven of Mozart’s saddest pieces of music, ranking them in a totally subjective list, from least sad to most sad.

So join us as we listen to various symphonies, sonatas, and more, and learn a bit about the stories behind each piece.

Wolfgang Amadeus Mozart in 1789

By 1788, a mature Mozart had begun keeping meticulously detailed records of his output. Based on his records, we know that he finished this symphony after a matter of weeks on 25 July 1788.

Although the Fortieth has a reputation for being a tragic symphony, its origins weren’t particularly dramatic: indeed, it was probably written for a concert series at a casino.

Various historians have claimed that Mozart never got to hear the work performed, but later scholarship has disproven this legend. How? Because he rewrote the woodwind parts, suggesting that he’d heard them played…or, at the very least, was revising and anticipating an imminent performance.

Although this symphony could be thought of as sad, better words to describe it might be worried, agitated, or turbulent. Mozart’s most overtly sorrowful compositions appear later on this list, which is why this one doesn’t rank higher. 

Mozart turned seventeen years old in 1773. Amazingly, he had already written twenty-four symphonies, and that October, he wrote his twenty-fifth. (By the way, legend has it that he wrote it within two days of finishing his previous symphony!)

Mozart’s 25th Symphony draws from the Sturm und Drang (“storm and stress”) movement, which was popular in European music at the time. Music in the Sturm und Drang style valued extreme emotions and subjectivity, traits that pushed back against Enlightenment Era priorities like rationalism and detached objectivity.

Mozart embodied the values of the Sturm und Drang style by writing in a minor key and employing rhythmic syncopations.

Like his other G-minor symphony above, the emotional tone here is more furious than sad. 

In the summer of 1778, when Mozart was twenty-two, he and his beloved mother, Anna Maria, were living in Paris. His father, who usually oversaw his prodigy son’s travel and career, was unable to leave Salzburg, so he sent his wife off to accompany Wolfgang instead while he micromanaged what he could via letter.

Wolfgang obeyed orders, taking on a few students, composing, and networking. In June, his mother wrote letters home complaining of tiredness and a sore throat. We don’t know for sure, but it seems likely she didn’t want to pay to see a doctor, as her husband was always complaining about money.

Anna Maria Mozart

Unfortunately, whether or not she realized it, her life was in danger, and her health deteriorated quickly. On June 30th, last rites were administered, and on July 3rd, she died. It is still uncertain what she died of, although it’s widely believed to be typhoid fever.

Panicked, Mozart prepared his father by lying to him in a letter, claiming that she was only sick, not dead. When he finally admitted the truth, his father blamed him for what had happened.

It’s not known for sure when Mozart wrote this violin sonata in 1778, but many listeners believe that it was inspired by his feelings surrounding his mother’s sudden shocking death and his father’s hurtful reaction. It is melancholy with tinges of dramatic bitterness. 

We don’t know exactly when Mozart wrote his twelfth piano sonata. He could have written it during visits to Munich or Vienna, or, most intriguingly, during a visit to his hometown of Salzburg, during which he introduced his new wife Constanze to his father…no doubt a nerve-wracking and emotional trip!

Regardless of the sonata’s origins, its second movement is deeply emotional. The opening theme is not particularly sad (it’s more wistful than anything), but as it develops, it grows more and more quietly despairing, traversing between sunlight and shadow in a deeply affecting way. 

Mozart wrote his twenty-third piano concerto two months before the premiere of The Marriage of Figaro, and opera was clearly on his mind. You can hear it in the tragic aria-like melody that he gives to the solo piano.

Interestingly, this is the only piece of music that Mozart ever wrote in F-sharp minor.

It’s interesting to remember when hearing modern performances that Mozart likely improvised details while playing the solo piano part and that this tradition of improvisation has been largely discarded. 

Mozart was twenty-six years old when he wrote his Fantasia in D-minor for solo piano. It’s a short piece: just a hundred measures, split into a few parts and hovering around six minutes. Its unexpected, unpredictable form helps contribute to the feeling of listlessness and sadness.

We don’t know why Mozart wrote this work. We do know that he didn’t actually finish it himself, as it was unfinished upon his death in 1791.

The final ten measures were likely composed by German composer August Eberhard Müller, although others like Mitsuko Uchida have stepped forward with their own endings. 

Mozart’s Requiem contains his saddest music, both for the content of the music and for the tragic story behind its composition.

In 1791, a wealthy count named Franz von Walsegg commissioned Mozart to write a Requiem in honour of his recently deceased wife. (The count also was an amateur musician who, alarmingly, wanted a work to pass off as his own.)

Tragically, Mozart died before the Requiem could be finished. He was only thirty-five years old, and to this day, we don’t know exactly what killed him.

His widow was left with two children to raise. Mozart hadn’t left enough money for her to live on, and she knew that to secure her family’s economic security, she would have to hire a composer to finish the Requiem so that she could collect the commission fee.

Franz Xaver Süssmayr, a composer and Mozart student, took on the monumental task of finishing this masterpiece. We do not know exactly what Süssmayr contributed to the Requiem, but he later claimed he wrote the Sanctus, Benedictus, and Agnus Dei, which appear toward the end.

The saddest movement of the Requiem is likely the Lacrymosa (“Weeping”), which combines sorrow and splendour in equal measure. 

Between the tragic subject matter and the knowledge that it turned out to be his farewell to music, it’s our pick for the saddest music that Mozart ever wrote.

Which work do you think is Mozart’s saddest? Would you re-order our list? Let us know in the comments!

The Best of Mozart

THE BEST OF MOZART 1. Eine Kleine Nachtmusik, K. 525: I. Allegro (00:00) - Budapest Scoring Symphonic Orchestra 2. Eine Kleine Nachtmusik, K. 525: II. Romanze - Andante (07:45) - Budapest Scoring Symphonic Orchestra 3. Eine Kleine Nachtmusik, K. 525: III. Menuetto - Allegretto (12:50) - Budapest Scoring Symphonic Orchestra 4. Eine Kleine Nachtmusik, K. 525: IV. Rondo - Allegro (14:50) - Budapest Scoring Symphonic Orchestra 5. Symphony No 35 in D major, K. 385 (Haffner Symphony): I. Allegro con spirito (20:08) - Budapest Scoring Symphonic Orchestra 6. Symphony No 35 in D major, K. 385 (Haffner Symphony): IV. Presto (25:54) - Budapest Scoring Symphonic Orchestra 7. Symphony No 40 in G minor, KV. 550: I. Molto Allegro (29:53) - Budapest Scoring Symphonic Orchestra 8. The Magic Flute: Overture (37:29) - Budapest Scoring Symphonic Orchestra 9. The Marriage of Figaro: Overture (44:41) - Budapest Scoring Symphonic Orchestra 10. String Quartet No. 23 in F major, K. 590: I. Allegro moderato (49:12) - Accord quartet 11. String Quartet No. 23 in F major, K. 590: IV. Allegro (58:13) - Accord quartet 12. String Quartet No. 20 in D major, K. 499: II. Menuetto and Trio. Allegretto (1:03:17) - Accord quartet 13. Violin Sonata No. 26 in B-flat major, K. 378: III. Rondo. Allegro (1:06:38) - Accord quartet 14. Piano Concerto No. 21 in C major, K. 467: II. Andante (1:10:46) - Csabay Domonkos 15. Piano Concerto No. 23 in A major, K. 488: I. Allegro (1:16:25) - Csabay Domonkos 16. Piano Sonata No. 11 in A major, K. 331: III. Alla Turca (1:27:15) - Csabay Domonkos 17. Clarinet Concerto in A major, K. 622: II. Adagio (1:29:35) - Budapest Scoring Symphonic Orchestra 18. Violin Concerto No. 3 in G major, K. 216: I. Allegro (1:36:36) - Budapest Scoring Symphonic Orchestra 19. Flute Concerto No. 2 in D major, K. 314: II. Adagio non troppo (1:46:08) - Budapest Scoring Symphonic Orchestra 20. Horn Concerto No. 3 in E-flat major, K. 447: II. Romance. Larghetto (1:51:36) - Budapest Scoring Symphonic Orchestra Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the classical era. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his early death have been much mythologized. He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years". Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it All the best classical music ever on Halidon Music Youtube Channel: The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time. The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák…

MOZART | Piano Concerto No. 27 in B-flat K. 595

Wolfgang Amadeus Mozart (1756-1791) | Piano Concerto No. 27 in B-flat K. 595 Aris Alexander Blettenberg - piano Klangkollektiv Wien Rémy Ballot - conductor MUSIK MERAN 12.10.2023 - Kursaal, Meran (I) 00:00 Allegro 14:37 Larghetto 22:40 Ronde. Allegro

The Child Prodigies of Classical Music (II)

From Mozart to Richard Strauss

By Georg Predota, Interlude

Let’s continue our exploration of early compositions by famous composers.

Wolfgang Amadeus Mozart

The young Mozart in Vienna

Wolfgang Amadeus Mozart (1756-1791) is widely regarded as the child composer par excellence. It was probably because of Mozart that the image of the child composer first entered the public consciousness. On his first visit to London, young Mozart attracted the attention of Daines Barrington, “a polymath who wrote about a variety of curious phenomena.” It was agreed that Barrington would examine Mozart’s musical abilities by subjecting the 8-year-old boy to a number of tests. Barrington brought along the five-part score of a new opera by a London composer, including two lines in the difficult to read contralto clef.

“Mozart played it flawlessly, and also captured the composer’s tempos, dynamic, and musical intentions.” Next Barrington asked young Mozart to improvise a love song, and the boy created a complete piece with recitative and two movements. Then Barrington asks Mozart to compose a song of rage. “This time Mozart tears into the keyboard like a child possessed, standing up from his bench and hammering the keys with small fingers that can scarcely reach the interval of a fifth.” Barrington concludes that Mozart may “become even greater than another one-time European prodigy, now working in London. This Mozart might, one day, prove to be a match for even the great George Frideric Handel.”

Mozart’s musical output as a child is truly remarkable, as he completed roughly 120 works before 1772. These works are written in a great variety of genres, and his success was widely recognized at the time. Barry Cooper suggests, “Mozart’s success may well have prompted a surge in the number of active child composers, which certainly increases significantly around this time.” Among the dramatic works written by Mozart between 1768 and 1771, we find the oratorio La Betulia Liberate, an impressive work with powerful choruses and well-characterized arias. 

Joseph Martin Kraus

Portrait of Joseph Martin Kraus, 1775

Born in the same year as Mozart, Joseph Martin Kraus (1756-1792) was one of the most talented and unusual composers of the 18th century. He initially studied music at a Jesuit Gymnasium in Mannheim, and his earliest musical training was influenced by the Italian style of the Mannheim composers. He began composing symphonies during his youth and quickly developed a flair for the dramatic and unexpected. His earliest attempts have sadly been lost, but what has survived, indicated a strong dramatic element making them more “theatrical than simply mass-produced concert works.” The Symphony in A major (VB 128) is one of the earliest symphonies by Kraus to have survived, and the first movement features “bold unisons, flashing motivic figures and expansively worked out contrasting themes, while the second is filled with considerable lyricism.” The work also includes a minuet, and a rousing final movement providing a musical depiction of a hunt. 

Camille Saint-Saëns

Camille Saint-Saëns in 1846

Camille Saint-Saëns (1835-1921) claimed to have destroyed many of his childhood works. Seemingly, his efforts at destruction did not progress very systematically, as more than fifty pieces still survive. Hector Berlioz would later describe him as “knowing everything about music but lacking inexperience.” To be sure, Saint-Saëns was one of the greatest child prodigies the world had ever seen. It is reported that he improvised descriptive pieces at the age of 2 and that he penned a short and unpretentious composition aged just 3 years and 164 days. He entered the Paris Conservatoire at the age of 13, and he tried his hand at the composition of symphonies at the age of 15. Two of these symphonic attempts remained unfinished, but the Symphony in A Major emerged fully formed in four complete movements. A critic writes, “Although it was probably conceived as a student exercise to demonstrate his mastery of various writing and orchestration techniques, this symphony is far more than just an academic rite of passage. Balance and concision (a legacy of the Viennese classics), a stylistic unity that manages to channel a spirit of romanticism into a classical four-movement structure, light and transparent orchestration: everything here proclaims an exceptional talent.”

Alexander Tcherepnin

Alexander Tcherepnin

Alexander Tcherepnin (1899-1977) initially studied music with his mother, and as early as 1913, he was apparently composing an opera entitled “The Death of Ivan the Terrible.” Supposedly, Tcherepnin wrote in the score that a large metal sheet be thrown on the floor to imitate the sound of a huge bell. Tcherepnin also “composed hundreds of piano pieces in his early years, including thirteen piano sonatas.” Forced to flee after the 1917 Russian Revolution, the family fled Saint Petersburg and settled in Tbilisi, Georgia. Tcherepnin took a good many of his early pieces with him, and a substantial number actually reached print. This includes the Bagatelles Op. 5, of which No. 7 was probably composed in 1912. Originally composed for piano solo, Tcherepnin later revised and arranged these pieces for a variety of instrumental forces, including a version for piano and orchestra.

Ignaz Moscheles

Ignaz Moscheles

The Bohemian composer and piano virtuoso Ignaz Moscheles (1794-1870), together with Jan Ladislav Dussek and Muzio Clementi, eventually established the “London” School of Pianoforte playing. Moscheles hailed from Prague and took early lessons from the disciplinarian director of the local conservatory, Friedrich Weber. He only allowed Moscheles to play the music of Mozart, Clementi, and J.S. Bach, and none of the “modern stuff” that Beethoven was composing. In 1808, after the death of his father, Moscheles went to Vienna and studied counterpoint with Albrechtsberger and composition with Salieri, and he became friends with Beethoven. Moscheles began composing at least as early as 1808 and actually had a symphony performed in Vienna on 12 March 1809. This work does not survive, however, and his earliest published works date from around 1810. These consist of several sets of piano variations (Opp. 1, 2, and 5–7), some dances (Op. 3), and a Sonatina (Op. 4), all of which were printed in quick succession. 

Juan Crisóstomo Arriaga

Juan Crisóstomo Arriaga

Juan Crisóstomo Arriaga (1806-1826) showed such striking ability as a child that he is sometimes referred to as the “Spanish Mozart.” His first known composition, a trio for violin that later had a text and a bass part added, was entitled Nada y much, and dates from 1817. In 1818 he published an overture of nine instruments as his Op. 1. His opera Los esclavos felices was probably composed in 1819, but only the overture survives. “It begins with a very lyrical introduction, with a graceful, flowing melody decorated by occasional expressive chromatic appoggiaturas and some delicate countermelody.” The musical style invites comparisons with Italian opera, and specifically Rossini. Arriaga composed roughly twenty works before moving to Paris to take up his studies at the Paris Conservatoire. Among these works is a Stabat Mater for three male voices and orchestra, composed while he was still in Bilbao. Arriaga continued composing prolifically after moving to Paris, writing symphonies and string quartets, but his career was tragically cut short by his early death before he reached the age of twenty. 

Clara Wieck

Clara Wieck at 16 years old

At the age of 12, Clara Wieck (1819-1896) was well on her way of becoming a renowned piano virtuoso. Concurrently, she began to compose and wrote a waltz for piano in 1828. A number of early works are mentioned in various documents but appear to be lost. Her Op. 1 is a set of four polonaises that appeared in print in 1831, and additional piano works, ranging from the virtuosic to the more poetic and introspective, were issued shortly thereafter. In addition, Clara also embarked upon orchestral studies, and she drafted a “Scherzo” and an “Overture” for orchestra, but they have not survived. However, the idea of writing a concerto had decidedly taken shape and Wieck started drafting a piano concerto in A minor in January 1833. The final movement was completed later that year and was performed at least twice in May and September 1834. “You see, you must know that I am in love,” Clara Wieck confessed to her stepmother in January 1835. “It is not a passing fancy, but lasting love.” The object of this passionate outburst was not Robert Schumann but the cellist August Theodor Müller. As such, the first two movements were composed under the spell of infatuation, and the “enchanted cello of Theodor” left its mark in the enchanting notes of the expansive “Romance,” the concerto’s middle movement.”

Frederic Hymen Cowen

Frederic Hymen Cowen

On 29 January 1852, the city of Kingston, Jamaica registered the birth of Hyman Frederick Cohen. The Cohen family originally consisted of plantation owners and possibly slave traders, but with that business in decline, Frederick Augustus Cohen entered into diplomatic service, and the family transferred to England in 1856. They changed their surname to Cowen, and Frederic Hymen Cowen showed great musical promise at an early age. In 1858 the six-year-old boy published his first piano piece, “Minna Waltz,” and his first published song “A Mother’s Love,” followed in 1859. Since he was not yet able to write down the music, he simply improvised and his teacher wrote it down for him. At the age of 8, Cowen composed a “drawing room operetta” entitled Garibaldi. Scored in two acts of five scenes each, the libretto was written by his seventeen-year-old cousin Rosalind, “and consists of spoken dialogue that alternates with numerous airs, and duets, with piano accompaniment.” It was performed on 4 February 1860, with Cowen at the piano, and a cast of children all younger than seventeen. It was published later that year and consists of an impressive forty-three pages of score. After a brief period of study in Leipzig, the highpoint of Cowen’s early career came on 9 December 1869, when, at the age of seventeen, his First Symphony in C minor and his Piano Concerto in A minor were performed “at a highly successful and enthusiastically reviewed concert.”

Louis Spohr

Louis Spohr

Contemporaries mentioned the name Louis Spohr (l784-1859) in the same breath as Beethoven, and Mendelssohn, Schumann, and Chopin held him in the highest admiration. Spohr started learning the violin at the age of five, and his earliest attempts at composition were made about 1796, or perhaps even earlier. According to his own account, and there is no reason to dispute his memory, he composed the overture, choruses, and airs for an unfinished singspiel, six string trios, and a number of violin concertos, all now lost. As Barry Cooper writes, “Spohr’s early works have suffered more than their fair share of neglect and it is difficult to assess how capable a composer he was as a child.” An undated autograph score of a violin concerto in G Major is what remains of Spohr’s early attempts at composition. Scholars have suggested that it was composed “around 1799 at the age of fifteen.” It is described as having “still limited creative power and modest structuring, and was modeled after the violin concertos of Giornovichi and Viotti.” And while the work has been termed naïve, “it is naïve in the positive sense of freshness and unspoiled.” It certainly serves as a convincing demonstration of Spohr’s musical talents. 

Richard Strauss

Richard Strauss as a child

Franz Strauss, the celebrated horn virtuoso who set new standards on the instrument for more than four decades, immediately recognized the musical talents of his son Richard Strauss (1864-1949). The four-year-old boy took piano lessons from August Tombo, and his older sister remembered, “Richard made swift progress. Sight-reading presented him with no problems. His teacher played to him a great deal, and there was one trick that delighted Richard. His teacher played the bass part with the left hand, the top line with his right hand, and the middle part with the tip of his long pointed nose.” Richard first tried his hands at composition at the age of six, when he composed the Schneider-Polka (Tailor Polka) for piano. However, as he was not yet capable of writing music, his father wrote it down for him. Richard was described by his teacher as “a student with excellent disposition, good deportment and well behaved; lively, enthusiastic, attentive, sometimes over-eager and hasty.” By the time he was 16, Richard had composed roughly 140 compositions, including almost 60 songs and more than 40 piano works. Much of these juvenilia pay homage to the musical creed of his father, who favored the “trinity of Mozart (most of all), Haydn and Beethoven.” Echoes of Mozart and the Classical style clearly emerge in his Serenade in E-flat for Thirteen Wind Instruments, Opus 7, dedicated to his composition teacher Franz Meyer. And while some critics find “schoolbook themes of almost universally four-square structure with depressing regularity, Strauss was very positive about his early compositions, allowing some of them to be published many decades later.”

The concluding episode in this series of Child Prodigies features music by Mendelssohn, Liszt, Darcis, Korngold, and others; please join us for the exciting conclusion.