Search shop:

  • Composer
  • Instrumentation
  • Level of Difficulty
  • Products
Search shop

Content/Details

Difficulty (Explanation)
Other titles of this difficulty
Piano Concerto C major K. 467
6 medium

PREFACE

Wolfgang Amadeus Mozart’s Piano Concerto in C major, K. 467, originated in the same temporal context as his D-minor Concerto, K. 466, both being written for the “academy season” of 1785. By longstanding tradition, this season lasted from Ash Wednesday to Easter Sunday and offered a busy succession of concerts organized by various societies and artists. Mozart wrote both of... more

About the Composer

Read more...

Wolfgang Amadeus Mozart

Mozart is one of the few composers to have produced masterpieces in all genres. On the concert tours he undertook in his early years (London, Mannheim, Italy, Paris) he gained many varied musical impressions that he assimilated in his youth and which formed the prerequisite for his later consummate musical language.

1756Born in Salzburg on January 27, the son of musician and later court composer Leopold Mozart. His early regimented musical education from his father began in 1761, first compositions at age five.
1763–66Extended concert tours through various German cities and to Paris, London, Amsterdam, Switzerland. He composes his first sonatas for violin and piano, K. 10–15, dedicated to Queen Charlotte, as well as the first symphonies from London, K. 16 and 19, which show the influence of the works of Johann Christian Bach and Karl Friedrich Abel (the three-movement Italian sinfonia form).
1767Premiere in Salzburg of the sacred light opera “Die Schuldigkeit des ersten Gebotes,” K. 35 (written with Michael Haydn and Anton C. Adlgasser), and the intermezzo “Apollo et Hyacinthus,” K. 38. Journeys with his father and sister to Vienna.
1768Probably the premiere in Vienna of his Singspiel “Bastien and Bastienne,” K. 50. Composition of his first masses.
1769Performance in Salzburg of the dramma giocoso “La finta semplice,” K. 51.
1769–71Two tours to Italy; he meets Farinelli, P. Nardini, and Padre Martini, among others, and, on the second trip, Hasse. Premieres in Milan of his opera seria “Mitridate, Re di Ponto” in 1770 and of the festa teatrale “Ascanio in Alba” in 1771. Composition of symphonies and his first string quartet (1770, K. 80).
1771Composition of the oratorio “La Betulia liberate,” K. 118, in Salzburg/Italy.
1772Premiere of the serenata drammatica “Il sogno di Scipione,” K. 126, for the accession of Salzburg Archbishop Hieronymus Count Colloredo. He receives an appointment as salaried concertmaster of the Salzburg Court Chapel (of which he had been an unpaid member since 1769). Third journey to Italy with his father, premiere in Milan of the dramma per musica “Lucio Silla,” with general success. The final trip to Italy spells the ends of his youthful phase of appropriation; he has tested out all important instrumental genres (symphony, sonata, string quartet) and all the main genres of opera (Singspiel, opera buffa, opera seria, festa teatrale).
from 1773Composition of string quartets (K. 168–173) under the influence of Haydn, and of symphonies, divertimenti, serenades. He increasingly devotes himself, contingent upon the duties of his post, to liturgical music; several masses are written. Begins to compose violin and piano concerti.
1775Premiere in Munich of the dramma giocoso “La finta giardiniera” and the serenata “Il Rè pastore.” Piano sonatas, K. 279–284.
1777He vacates his post temporarily to undertaken a promotional tour with his mother to Munich, Mannheim, and Paris.
1778Composition of the “Paris” Symphony in D major (K. 297). In Paris he experiences the quarrel between the proponents of Gluck and those of Piccinni. Publication of violin sonatas.
1779Resumes his duties in Salzburg, as court organist. Coronation Mass in C major.
1781Premiere in Munich of his tragédie lyrique “Idomeneo,” in which French and Italian elements are synthesized. Journey to Vienna. After his falling out with the Archbishop of Salzburg, he gives up his post, moves to Vienna, and earns his living as a free composer through concertizing and giving music lessons. His last great period of creativity begins.
1782He becomes acquainted with the works of Bach and Handel through Baron van Swieten; after this he arranges Bachian fugues and incorporates the “learned style” (fugues and counterpoint) into his works beside the “galant style” (e.g. in the String Quartet in G major, K. 387, in 1782; Piano Sonata in F major, K. 533, in 1786; the Jupiter Symphony, K. 551, in 1788; “Die Zauberflöte” (“The Magic Flute”), and the Requiem in D minor, K. 626, both in 1791). Premiere in Vienna of his Singspiel “Die Entführung aus dem Serail” (“The Abduction from the Seraglio”). Composition of the Haffner Symphony in D major, K. 385.
1783Mass in C minor, K. 427; Linz Symphony in C major, K. 425.
1784Hunt Quartet in B-flat major, K. 458.
1785Premiere in Vienna of the oratorio “Davide penitente,” K. 469. “Dissonance” Quartet in C major, K. 465.
1786Premiere of the comedy with music “Der Schauspieldirektor” (“The Impresario”), K. 486, which Salieri’s competing work “Prima la musica e poi le parole” (“First the Music and Then the Words”) bests. Premiere in Vienna of the opera buffa “Le nozze di Figaro” (“The Marriage of Figaro”), whose extended action-packed finales form a highpoint of opera buffa. Prague Symphony in D major, K. 504.
1787Serenade in G major (“Eine kleine Nachtmusik”), K. 525. He is named imperial and royal chamber composer. Premiere in Prague of the dramma giocoso “Il dissoluto punito ossia Il Don Giovanni,” a synthesis of serious and comic opera.
1788Composition of the large Symphonies in E-flat major, K. 543; G minor, K. 550; and C major (Jupiter Symphony), K. 551. Clarinet Quintet in A major, K. 581.
1790Premiere in Vienna of the dramma giocoso “Così fan tutte ossia La scuola degli amanti.”
1791Premiere in Prague of the opera seria “La clemenza di Tito” and in Vienna of the Singspiel “Die Zauberflöte.” Clarinet Concerto in A major, K. 622. The Requiem remains unfinished. Dies in Vienna on December 5.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

About the Authors

Read more...

Norbert Gertsch (Editor)

Dr. Norbert Gertsch, born in 1967 in Rheinkamp/Moers, studied piano solo at the Mozarteum in Salzburg and read musicology and philosophy at the Paris Lodron University in Salzburg and the Ruperto Carola University Heidelberg on a scholarship from the “Studienstiftung des Deutschen Volkes”. In 1996 he wrote his doctoral thesis on Ludwig van Beethoven’s Missa solemnis (as part of the New Complete Edition) under Ludwig Finscher.

In the following year, he began to work at G. Henle Publishers, initially as an editor for electronic publishing. After working on a two-year project (1999–2000) sponsored by the German Research Foundation (DFG) preparing a new Beethoven Catalogue of Works, he became a scholarly editor at G. Henle Publishers. In 2003 he became Editor-in-Chief, in 2009 Deputy Managing Director and Head of Publishing. As of 1 January 2024, the Executive Board of the Günter Henle Foundation has appointed Dr. Norbert Gertsch, as the new managing director, succeeding Dr. Wolf-Dieter Seiffert.

Gertsch has published many Urtext editions for G. Henle Publishers, including volumes for a new edition of Beethoven’s Piano Sonatas together with Murray Perahia.

András Schiff (Piano reduction, Fingering, Cadenzas)

» Biography

Bij de uitvoering vlecht Schiff door zijn eigen cadensen dan ook wel eens een citaat uit een opera en slaat daarmee een brug tussen concertzaal en theater. Zijn inbreng is van onschatbare waarde en opent verrassend nieuwe perspectieven op stukken die ons zo vertrouwd leken.

Pianowereld, 2007

Die Herausgeber Stephan Hörner, Norbert Gertsch und Ernst-Günter Heinemann garantieren eine genaue und doch kritische Wiedergabe der originalen Vorlagen, was in den Bemerkungen und den unbedingt lesenswerten Vorworten zum Ausdruck kommt.

Schweizer Musikzeitung, 2007

recommendations

autogenerated_cross_selling

Wolfgang Amadeus Mozart Piano Concerto no. 24 c minor K. 491
Piano reduction, Urtext Edition, paperbound
HN 787

€22.00 available

€22.00 available
Further editions of this title
Wolfgang Amadeus Mozart Piano Concerto no. 27 B flat major K. 595
Piano reduction, Urtext Edition, paperbound
HN 1534

€22.00 in preparation

€22.00 in preparation
Further editions of this title
Wolfgang Amadeus Mozart Piano Concerto C major K. 503
Piano reduction, Urtext Edition, paperbound
HN 825

€24.00 available

€24.00 available
Further editions of this title