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Piano Concerto G major K. 453
6 medium


The year 1784 marks a decisive break in the evolution of Mozart’s piano concertos. Not only was it his most productive year, with six new compositions, but he also raised the genre to new technical and artistic heights previously reached only by his wholly unique early Concerto in Eb major, K. 271. Mozart, in his autograph thematic catalogue, assigned the Piano Concerto in... more

About the Composer


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

András Schiff (Piano reduction, Fingering)

» 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

… these new editions exude friendliness to performers on modern instruments and can be recommended wholeheartedly …

International Piano, 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

Was ist nun das Besondere dieser Neuausgabe? Werfen wir einen Blick in das von Stephan Hörner herausgegebene Klavierkonzert G-Dur KV 453, das Mozart in einem seiner produktivsten Jahre – 1784 – für seine Schülerin Barbara von Ployer schrieb. Zunächst fällt einmal das gegenüber älteren Ausgaben aufgelockert und großzügiger dimensionierte Satzbild auf – András Schiff verzichtet in seinem Klavierauszug auf den Ehrgeiz, wirklich jeden Mittelstimmeneinsatz der zweiten Violine oder affirmative Hornrufe in den Klaviersatz zu übernehmen. Der Mut zur Lücke wirkt erfrischend und klärend – dieser Klavierauszug eignet sich tatsächlich zum Blattspiel und wirkt zugleich an keiner Stelle überladen. Schön auch, dass Angaben zur Instrumentierung im Klavierauszug nicht fehlen: Einen Bläserakkord spielt man auf dem Klavier eben anders als einen Streicherakkord.

Piano News, 2006

Zum Mozartjahr erscheint im Münchner Henle-Verlag eine weitere hochwertige Veröffentlichung, die in keiner Bibliothek fehlen sollte.

Ensemble, 2006

Pour la première fois ici, l’œuvre est publiée dans une édition critique prenant en compte sa forme originale.

Crescendo, 2006

András Schiff verzorgde voor Henle niet alleen de vingerzetting, maar vervaardige opnieuw een uitstekende reductie van de orkestpartij die volledig recht doet aan het klankbeeld en de stemvoering en bovendien pianistisch in evenwicht is met de solopartij..

Pianowereld, 2009



Wolfgang Amadeus Mozart Piano Concerto no. 22 E flat major K. 482
Editor: Cliff Eisen
Piano reduction, Urtext Edition, paperbound
HN 1240

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Further editions of this title
Wolfgang Amadeus Mozart Piano Concerto C major K. 503
Editor: Ernst Herttrich
Piano reduction, Urtext Edition, paperbound
HN 825

Variants from $26.85
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Further editions of this title
Wolfgang Amadeus Mozart Works for two Pianos
Urtext Edition, paperbound
HN 471

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Variants from $36.93
$43.95 available
Further editions of this title