A Unique Side of Mozart: Piano Concerto No. 23

We all know someone who’s said it—Mozart’s music is light, easy listening, simple. Of the many examples we could provide to disprove this theory, one that speaks so strongly and usually leaves us speechless—the second movement of Mozart’s Piano Concerto No. 23.

Luscious, minor-key slow movements are not a total rarity in Mozart’s grand works; the multi-movement structure calls for contrast. There is something about No. 23 that provoked Mozart’s gothic passion. Right from the start, there is a simple, half-step sighing motive that immediately becomes a solemn sweeping gesture. The sighing motive never disappears, however, leaving the melancholic feeling in all its appearances. Here is the solo piano opening:

The leaping gesture grows and the half-step sighing motive develops, darker still. When the orchestra enters, it is the classical style at its most romantic. Listen carefully to the balance of the orchestral families, creating beauty so effortlessly:

The three families—winds, strings and solo piano—support each other and eventually lament together. As the piano transforms the energy of the orchestral theme, the orchestra follows along with both the sighing and sweeping gestures, creating an achingly beautiful tapestry:

We’ll never really know why Mozart chose such a tormented sound for this movement. Perhaps something personal? Perhaps the key of F-sharp minor—a key he had not previously used, nor would ever again, in his piano concertos—inspired him to approach a new style?

What we do know is that this piece will certainly change the minds of those who think Mozart only occupied one dimension. Experience Mozart’s music in unique form as pianist Simone Dinnerstein performs this cherished work with the NJSO April 25–28.

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Post by Michael Rosin