About this Piece

The undisputable genius of Mozart has blessed us with a wealth of musical treasures, but very few other genres are so richly stocked as the piano concerto. Even if we begin the inventory with No. 9 and pass over No. 10 (which calls for two pianos), there are 17 mature examples in the Mozart catalog, matching or exceeding the storehouse of standard symphonies, quartets, sonatas, and operas by the Salzburg-born master.

The synthesis of symphonic style, solo display, and operatic characterization in these works makes them difficult to match as a realization of an idealized Classical work of art. Balancing beauty and nobility with the emotional range of expressive melodic contours that speak volumes without the need of text, these scores provide us with an unparalleled opportunity to experience the miracle of Mozart.

Among his piano concertos, No. 25 (the last of three such works in the key of C major) ranks high on the list for its sublime integration of the composer’s manifold gifts. The opening is marked maestoso, but qualities beyond mere majesty are soon apparent. The swings to the minor mode bring twinges of uncertainty and hesitation to the otherwise heroic scenario being depicted. Abundant use of wind instruments reminds us of Mozart’s amazing gift for orchestration, not just in the mercurial opening movement, but also throughout the concerto. Mozart left no cadenza for the first movement, which allows soloists to choose one by another performer or to perform their own.

Contrast is an essential element in Mozart’s arsenal, and the second movement provides ample demonstration. After the discursive and extended opening movement, the lyrical centerpiece of the concerto remains aloof and eloquent, an oasis of calm reflection in which the extreme registers of the piano are explored and exploited.

Echoing standard practice in opening movements, Mozart begins the finale with a full statement of themes by the orchestra. As usual in Mozart’s concerto finales, the ensuing scenario is disrupted by surprises along the way, and he supplies plenty of pomp to round off the work’s grand opening pages. —Dennis Bade