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WA MOZART: Piano Concertos K. 414 & K

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WA MOZART: Piano Concertos K. 414 & K Andrea Bacchetti, piano W. A. MOZART: Piano Concertos K. 414 & K. 271 LIVE AT TEATRO CARLO FELICE, Genova ORCHESTRA DEL TEATRO CARLO FELICE FABIO LUISI, conductor W. A. MOZART (1756-1791) - PIANO CONCERTOS K. 414 & K. 271 W. A. MOZART (1756-1791) Live at Teatro Carlo felice, Genova ANDREA BACCHETTI (piano) and ORCHESTRA DEL TEATRO CARLO FELICE 1C)o Anlcleegrrto No. 12 in A Major, K. 414-385p for Piano & Orchestra: [9:59] FABIO LUISI (conductor) 2) Andante [9:20] Variazioni e cadenze / Variations and Cadenzas / Variations et cadences / Variationen und Kadenzen: W. A. Mozart 3) Rondeau/Allegretto [6:44] Produttore esecutivo / Executive producer / Directeur de production / Produktionsleiter: Giovanni Bozzo per World Music, Eugenio Stella, Alessandro Cacco 4C)o Anlcleegrrto No. 9 in E-flat Major, K. 271 for Piano & Orchestra: [10:57] 5) Andantino [11:40] Registrazione / Recording / Enregistrement / Aufnahme: Teatro Carlo Felice, Genova, 24/05/2013 (piano concerto K. 414) e 27/11/2015 (piano 6) Rondeau/Presto [10:54] concerto K. 271) Recording supervisor & Balance engineer: Edited by Teatro Carlo Felice, Genova TOTAL TIMING [59:34] Mixing and Remastering: Gianluca Lazzarin Note di copertina / Liner notes / Texte / Booklet Text von: Mario Marcarini Referenze fotografiche / Photographs / Rèférences Photographiques / Fotonoachweis: Andrea Bacchetti, piano Marcello Orselli, Scatta&Stampa, FotoRaf, BALU Photography. Orchestra del Teatro Carlo Felice, Genova Progetto grafico / Graphic design / Maquette / Grafisches Layout: Fabio Luisi, conductor Daniela Boccadoro Traduzioni / Translations / Traductions / Ubersetzungen: Sinergia language institute di Alessandra Bava Ideazione e direzione editoriale/ Editorial Direction / Conception et direction de l’edition Planung und Editing: Mario Marcarini Ringraziamenti/ Thanks to / Merci à/ Danke: Fabio Luisi Paolo Besana, Paola Primavera, Lucilla Castellari (Teatro Alla Scala) Giuseppe Acquaviva, Davide Pagliarusco (Teatro Carlo Felice) W. A. MOZART (1756-1791) - PIANO CONCERTOS K. 414 & K. 271 W. A. MOZART (1756-1791) Live at Teatro Carlo felice, Genova ANDREA BACCHETTI (piano) and ORCHESTRA DEL TEATRO CARLO FELICE 1C)o Anlcleegrrto No. 12 in A Major, K. 414-385p for Piano & Orchestra: [9:59] FABIO LUISI (conductor) 2) Andante [9:20] Variazioni e cadenze / Variations and Cadenzas / Variations et cadences / Variationen und Kadenzen: W. A. Mozart 3) Rondeau/Allegretto [6:44] Produttore esecutivo / Executive producer / Directeur de production / Produktionsleiter: Giovanni Bozzo per World Music, Eugenio Stella, Alessandro Cacco 4C)o Anlcleegrrto No. 9 in E-flat Major, K. 271 for Piano & Orchestra: [10:57] 5) Andantino [11:40] Registrazione / Recording / Enregistrement / Aufnahme: Teatro Carlo Felice, Genova, 24/05/2013 (piano concerto K. 414) e 27/11/2015 (piano 6) Rondeau/Presto [10:54] concerto K. 271) Recording supervisor & Balance engineer: Edited by Teatro Carlo Felice, Genova TOTAL TIMING [59:34] Mixing and Remastering: Gianluca Lazzarin Note di copertina / Liner notes / Texte / Booklet Text von: Mario Marcarini Referenze fotografiche / Photographs / Rèférences Photographiques / Fotonoachweis: Andrea Bacchetti, piano Marcello Orselli, Scatta&Stampa, FotoRaf, BALU Photography. Orchestra del Teatro Carlo Felice, Genova Progetto grafico / Graphic design / Maquette / Grafisches Layout: Fabio Luisi, conductor Daniela Boccadoro Traduzioni / Translations / Traductions / Ubersetzungen: Sinergia language institute di Alessandra Bava Ideazione e direzione editoriale/ Editorial Direction / Conception et direction de l’edition Planung und Editing: Mario Marcarini Ringraziamenti/ Thanks to / Merci à/ Danke: Fabio Luisi Paolo Besana, Paola Primavera, Lucilla Castellari (Teatro Alla Scala) Giuseppe Acquaviva, Davide Pagliarusco (Teatro Carlo Felice) innovativo di compositore e con lo strabiliante virtuosismo di esecutore, riempire le From Salzburg to the conquest of Vienna sale da concerto e - beninteso - stampare e vendere ai ricchi e numerosi dilettanti The concerto for pianoforte and orchestra in the first part of Mozart’s career austriaci le copie manoscritte e successivamente le edizioni a stampa. Il 28 dicembre Concertos K. 271 and K. 414 Wolfgang scrive diffusamente al padre di questi lavori, indicandoli come “una giusta via di mezzo fra il facile ed il difficile” definendoli “brillanti, gradevoli all’orecchio Mario Marcarini senza scadere nella banalità”; ecco in breve la genesi dei Concerti in Fa K. 413, in La K. 414 (incluso nella presente registrazione) e in Do K. 415, annunciati già il 5 gen - There are very few composers in this history of western classical music that can be de - naio del 1783 dal Wiener Diarium come terminati e pronti per la sottoscrizione, fined as geniuses in each of the genres dealt with. Some of the greatest talents of the ossia per la raccolta delle adesioni dei nobili acquirenti, che avrebbero potuto otte - past, right up to our times, are totally absent in certain expressive fields, or have acclai - nerli per quattro ducati. Alcuni musicologi (fra cui il già citato Alfred Einstein) con - med little or no success at all in several of the musical contexts: for example, Johann siderano proprio il K.414, nonostante la numerazione, come il primo dei concerti per Sebastian Bach never wrote any melodramas, and neither did Chopin. Arcangelo Corelli pianoforte ed orchestra scritti da Mozart a Vienna. Il primo di una lunghissima serie, never ventured into the field of vocal music, Rossini never wrote music for piano and e tuttavia sempre caro al suo Autore, che qui pare concedere a sé ed al suo pubblico orchestra, although he was extremely productive in composing music for this instru - qualche tocco di galanteria. Fu eseguito per la prima volta in pubblico presso il Bur - ment. We could go on endlessly on this matter, in fact, we could carry out in-depth stu - gtheater il 22 marzo del 1783. Il primo movimento è brillante anche se non esube - dies in history, aesthetics, and even psychology to attempt to discover explanations, rante, pieno di grazia e di tenerezza, adattissimo ad un buon dilettante (termine circumstances and urges. On the other hand, by looking at those musicians, capable con cui si definivano musicisti non professionisti, ma non per questo tecnicamente of creating music that covers all music genres with their works, expressing themselves poco agguerriti). Il tempo centrale appare come un omaggio al melodramma, al - at just the same high standard in sacred music as in that of a secular nature, in instru - l’Italia tanto amata (anche dai viennesi) e al caro amico e maestro Johann Christian mental chamber music as in symphonic music, attending both the parlours and the Bach da poco scomparso, di cui viene citato in segno di evidente omaggio un fram - theatre, the comic and the serious world, writing for all kinds of instrument, the most mento dell’Ouverture che quest’ultimo aveva scritto nel 1763 per “La Calamita de’ expert will immediately think of Georg Philipp Telemann and Antonio Vivaldi, while al - cuori”, opera del veneziano Baldassarre Galuppi su testo di Carlo Goldoni. Gioia e most all classical music lovers will name Wolfgang Amadeus Mozart first, awarding the spensieratezza chiudono come un buon auspicio questo concerto, ed il movimento Salzburg-born composer first prize for his eclecticism and excellence in each of the fields finale, un Allegretto nella medesima tonalità d’impianto del concerto, lascia intuire in which his genius decided to try his hand. By way of simplification, melodrama repre - l’augurio di gioia che Mozart doveva fare a se stesso durante quei primi anni di bril - sented Mozart’s “forbidden dream,” the field in which the Austrian would have willingly lante carriera viennese. Il futuro come ben sappiamo non avrebbe esaudito i suoi invested all his energy and his endless enthusiasm, devoting his entire life to Italy and sogni, ma gli avrebbe dato almeno qualche anno ancora per portare a termine non its theatres; generally speaking, religious music could be seen as the field associated pochi capolavori, sia nel genere del Concerto per pianoforte e orchestra che in both with circumstances and the works to which court appointments would have con - ognuno degli ambiti in cui il genio del Salisburghese poté aver modo di applicarsi. nected, or even forced, him for a long time. However, to us, the keyboard appears to be his constant, even inseparable companion, a sort of intimate, public performer for the Mozartian aesthetics, right since his childhood, during the years in which his father Leo - pold organised exhausting tours in order to put his son’s extremely precocious talent concertos, or rather the marked theatricality, reiterated references to the world of opera, on display that showed, first of all, he was a brilliant harpsichord player, a really young in which the keyboard took centre stage, equal to that of the most talented prima don - prodigy with the gift of astonishing the listener – in a period in which all other children nas or venerated castratos. The nobility in Salzburg were so delighted by this innovation, had hardly learnt to speak –with a virtuosity capable of sticking in the minds of popes that in fact, it commissioned the young composer to write a long series of works for and emperors. The great, astounding virtuoso would continue to attract the audience keyboard and orchestra, among which the Concerto for three pianos K. 242 (1776) with his skills throughout the entire duration of his life, and the piano, a relatively new, stood out for its creativity and eclecticism, written for Countess Lodron and her two unusual instrument in Austria during the first twenty years of Wolfgang’s life, that was daughters. Concerto K. 246 dates back to the same year, written for Countess Lützow, destined to become not only a inextricably-linked private interlocutor but also a primary one of Leopold Mozart’s pupils. This score, already demanding for the performer, in source of income as well as a vehicle for success following his transfer to Vienna in 1777 was followed by the first of the two sheets to which our recording is dedicated, 1781. The world of concertos for piano and orchestra, perhaps even more so than the the Concerto in E flat K.
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