W. A. MOZART Piano Concerto No. 23, K. 488
H. PURCELL Fantasias: in A minor, Z.740; in B flat, Z.736; in C minor, Z.738; in F major, Z.745 (Upon one note)
W. A. MOZART Piano Concerto No. 24, K. 491
Mitsuko Uchida piano & director
Mark Steinberg concertmaster & leader
ABOUT THIS CONCERT
Poised and precise, elegant and immaculate – these are some of the words that have been used to describe the performances of the Mahler Chamber Orchestra and our Artistic Partner Mitsuko Uchida. Almost three years since our last appearances in the USA, we end the tour by heading west to return to Berkeley, sharing our celebrated approach to Mozart's piano concertos.
The two concertos, Nos. 23 & 24, are considered close siblings, one major, one minor, both written three weeks apart in a year when Mozart's creativity seemed to know no bounds; they were both written while he put the finishing touches to his opera Le nozze di Figaro. Both works showcase Mozart's recent innovation of creating a free exchange of materials and ideas between piano and orchestra, creating a new musical situation that enabled all the dynamic intimacy of chamber music in an orchestral setting, the ideal representation for what makes the partnership between Uchida and the MCO so special.
Providing contrast within the programme are a haunting set of fantasias by Henry Purcell. The English composer experimented with the fantasia in the summer of 1680. Filled with fantasy and texture, they celebrate a musical style that was quickly fading.