In May of 1784, while reflecting on his three most recently completed piano concerti (Nos. 14, 15, and 16), Mozart insisted that he “could not choose between them,” but that “the one in E-flat [No. 14] does not belong at all to the same category. It is one of a quite peculiar kind…”
Piano Concerto No. 14 in E-flat Major, K. 499 is intimate chamber music. Unlike Mozart’s later concerti, the wind voices take a back seat to the strings. Mozart suggested that this music could be played with a full orchestra, or, equally convincingly, with “a quattro” (string quartet).
Dated February 9, 1784, Concerto No. 14 was Mozart’s first entry in a notebook which he kept for the rest of his life, in which he documented themes and completion dates for each of his works. Mozart wrote the Concerto for his talented student, Barbara von Ployer, who was granted almost exclusive rights to perform it. The composer played it as well, to “extraordinary applause.”
The first movement (Allegro vivace) is set in 3/4 time, a rare meter for Mozart’s piano concerti. The introduction which opens the movement overflows with at least five independent themes. From the first notes, there is a magical sense of continuous organic development and operatic drama. The solo piano converses with the orchestra in sparkling and far-reaching musical conversations.
Throughout the movement, there is a harmonic duel between the home key of E-flat major, and its relative, C minor. Twenty seconds into the introduction, we hear C minor brazenly interrupt, and take the music in a new direction. It is something akin to the opposing team stealing the ball in a football game. At the end of the movement, a similar interruption, even more shocking and sneaky, results in a “stolen” cadence, and creates a thrillingly unconventional lead-in to the cadenza, written by Mozart.
The second movement (Andantino) is a serene, lamenting song without words. Its beautiful, expansive melody ventures into dramatic territory which anticipates Romanticism.
The final movement (Allegro ma non troppo) is a dazzling rondo and a contrapuntal tour de force. Its cheerful opening theme opens the door to a series of dramatic, fun-loving adventures. Imitative musical conversations abound among the solo piano and the voices of the orchestra. With a sudden turn to 6/8 time, the coda section skips along to a jubilant, humorous final cadence.
Recordings
- Mozart: Piano Concerto No. 14 in E-flat Major, K. 449, Mitsuko Uchida, Jeffrey Tate, English Chamber Orchestra prestomusic.com
Featured Image: “Stag hunting in the vicinity of Nuremberg,” Peter von Bemmel