Name: Mozart - Piano Concerto No. 5, K.175 (1773) {Géza Anda}
Uploaded: 2022-10-10T00:00:00.000Z
Duration: 20 min 26 s
Description: Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child pro

Bartje Bartmans

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Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.

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Piano Concerto No. 5 in D major, K.175 (December 1773)

I. Allegro (0:00)
Cadence (6:28)
II. Andante ma un poco adagio (8:05)
III. Allegro (15:45)
Cadence by Géza Anda (19:42)

Géza Anda, piano and the Camerata Academica des Salzburgers Mozarteums

Description by Michael Jameson  [-]
Mozart's Piano Concerto No. 5 in D major, K. 175, dates from December 1773; it was almost certainly written for the composer himself, then aged 18, to perform. By the standards of its day, and certainly with regard to Mozart's previous keyboard concertos (which were basically transcriptions and arrangements of works by other composers), the work must be regarded as groundbreakingly original and exceptionally brilliant -- indeed, entirely without equal at the time. The key is a festive D major, and a particular grandeur and spaciousness is underscored by the use of trumpets and drums in the orchestration. The young virtuoso matched this mood with a solo part of a new brilliance and technical level of challenge.

The opening movement, marked Allegro, is characterized by a constant sense of forward motion, perhaps tending toward a somewhat feverish intensity remarkable enough in a work of this early period. There is the usual opportunity for a cadenza towards the close of this sonata-form movement. It is followed by a restful Andante in G, whose Italian title is also qualified by the additional instruction "ma un poco Adagio," suggesting a somewhat more measured tempo. The concerto ends with a brilliant Allegro in opera buffa mode, in which Mozart already gives notice of his skills as a contrapuntist. It is known that the composer remained especially fond of K. 175, and included it in his Vienna concerts on several occasions during the early 1780s. Mozart also reworked some of the orchestration in preparation for the concerto's publication around 1785, and furnished a new finale (the Rondo, K. 382).