Debussy, Estampes, L. 100: II. La soirée dans Grenade
Bach, Prelude from the Cantata “Gottes Zeit ist die allebeste Zeit”
Schubert: Impromptu No.3 in G-Flat Major, Op. 90
Mozart, Piano Concerto in Bb Major, Movement I KV 595
“The first movement, Allegro, opens gently with a graceful introduction starting with murmuring accompaniment before moving lightly, lyrically, within the string and wind sections, sometimes interrupting one another, and sometimes cooperating together in melodic presentation. The pianist enters sotto voce with decorated passagework presented calmly and without virtuosity. The development is introduced by the piano, examining the first theme: but ever so gently and persuasively, Mozart takes us through approximately 20 modulations and harmonic diversity via piano and orchestra before arriving at the recapitulation. Such harmonic explorations and deftness forecast new musical horizons.“
Mozart, Piano Concerto in Bb Major, Movement II KV 595
“Mozart’s second movement, Larghetto, moves into “radiant melancholy” (Michael Steinberg) and the form is tri-partite. The simplicity is deceiving—nothing is easy herein. The music is profound yet clearly stated. And in that clarity it also has an ambiguity, as if something was not stated but obviously present—the hidden emotions of maturity and wise reticence.”
Mozart, Piano Concerto in Bb Major, Movement III KV 595
“The last movement, Allegro, is a rondo which includes two cadenzas. At this point, the pianist is unleashed into classical-style virtuosity, always controlled, never played with abandon, however stunning and exciting. Its main theme is friendly, free, happy and endlessly beguiling. Variations unfold in a tumble, with superb imagination, intrigue and excitement. Mozart was not intending to dazzle us, but indeed he does. Therein lies the concerto’s ineffable, unforgettable brilliance and legacy.“
Mozart, Piano Concerto in C Major, Movement I KV 415
“Within this standardized structure and style, Mozart achieved a remarkable degree of diversity. Thus, the distinctive character of this concerto is set by the choice of key – C major. In general, Mozart reserved this key for music of a ceremonial, even pompous character, marked by brisk, military rhythms and brilliant passage work. He was to repeat this tonality and character in two later concertos (Nos. 21 and 25) and two symphonies (Nos. 34 and the “Jupiter”).
Mozart, Piano Concerto in C Major, Movement II KV 415
“The Andante second movement in F major shows Mozart’s already finely developed melodic gift. Cast in a ternary form, it opens with a lyrical melody first announced by the violins and echoed in a more florid manner by the piano. This second statement closes in the key of the dominant, bringing about the middle section of the movement. The middle section is relatively brief and leads to a solitary restatement of the opening theme. An extensive coda, which mingles in a semitone idea from the middle portion of the movement, brings about a quite and serene close.”
Mozart, Piano Concerto in C Major, Movement III KV 415
“The concluding rondo is the most haunting movement. The piano announces the main theme, in 6/8 rhythm; this is repeated by the other instruments, which follow with an attractive five-measure phrase. The tempo changes to 2/4, and the piano presents a melancholy aria in C minor – based on the serious material discarded for the second movement – against a moving background. All of this material is restated in different dress, and the concerto ends on the opening rhythm with the music fading away against murmuring strings and finally a pianissimo drum-roll. There is nothing like it in any other Mozart finale.”