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  1. The chamber music-like Concerto No. 23 in A is one of Mozart’s most lyrical and, in the central Adagio, poignant works. Mozart created the model of the piano concerto as we know it, writing a dozen highly varied pieces to perform for Vienna audiences of the 1780s.

  2. OVERVIEW. During the period between 1782 and 1786, Mozart completed no fewer than 12 piano concertos, many of them exploring new structural and harmonic territory. The A-major concerto, one of his most popular, is not only a powerfully emotional work—especially the second movement—but is also of historical interest.

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  4. Jan 21, 2022 · Mozarts Piano Concerto #23. The A-major concerto, one of Mozart’s most popular, is not only a powerfully emotional work—especially the second movement—but is also of historical interest. One of three concertos Mozart was to perform in Vienna during the Lenten season of 1786, the concerto KV 488 was completed in March and was among the ...

  5. The piano concerto is a musical genre that Mozart valued highly and was a constant throughout his musical life as he combined dramatic contrast and vocal technique to push the form to a historic pinnacle. K.537 is the penultimate of Mozart’s 27 piano concertos.

  6. PDF | On Feb 11, 2023, Fangyuan Chen published Study on Mozart Piano Concerto No. 23: Comparing Horowitz’s and Curzon’s Recording | Find, read and cite all the research you need on ...

  7. May 23, 2011 · 01:50 - 04:40 Character. 04:50 - End minor character; climax and swing. Overview of tips on Mozart's style and Piano Concerto's third movement from Lang Lang. When switching from minor and major don't forget the colour change - Lang Lang describes as clouds (minor) and sunshine (major) .

  8. My aim is to gain a deeper understanding of Mozarts no.23 concerto by comparing the recordings played by the two different players. My approach is to judge Horowitz and Curzon’s recordings using the specific classical style of the 18th century as a criterion for my research. Keywords: Mozart piano concerto. Horowitz.

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