Of course, a concerto for three pianos is an unusual orchestral ensemble. Even more so if the work is intended to be performed at home, in a family atmosphere. But well into the eighteenth century, this was not that unusual. We know that in the homes of the aristocracy and the rising bourgeoisie, having a piano in the living room was a symbol of status and more. Naturally, if the nobleman or high bourgeois had achieved a comfortable financial situation, adding another piano raised his status a little higher. A third piano raised him to magnificent heights. This is what we imagine must have happened over time at Countess Lodron's home in Salzburg.
As was usual with Mozart, a good number of his piano concertos were written for specific performers. In his Vienna maturity, he wrote them for himself. In Salzburg, he intended them for his pupils, or, alternatively, for himself and his sister Nannerl. These are concertos that could be accompanied by a small group of strings, so they were perfectly suitable for an evening at home.
The concerto for three pianos was composed in 1776 for Countess Antonia Lodron of Salzburg and her two daughters, all three of whom we assume were Mozart's pupils. The copy given to the family by the maestro contains the following dedication, written in his own handwriting:
"To Her Excellency, Her Ladyship, Countess Lodron, and to her daughters, Their Lordships the Countesses Aloysia and Giuseppa."
The parts for each of the three pianos are carefully elaborated according to the abilities and experience of each performer. Two of these parts are of moderate difficulty. The third, on the other hand, demands very modest skills as it was intended for the youngest of the sisters.
In the opinion of some scholars, Concerto No. 7 does not constitute a significant contribution to the maestro's concert production. But some believe that Mozart may have been the only composer capable of writing works intended to shine with modest performers. And the latter does not mean at all that the work is unimaginative or simple.
What there is no doubt about is that its performance does not demand the participation of great virtuosos. For this reason, it is pleasantly surprising that three great masters have been "concerted" in the video presented here.
Movements:
00:00 Allegro
09:04 Adagio
16:50 Rondeau. Tempo di Menuetto
The performance is by the maestros Georg Solti, Andras Schiff, and Daniel Barenboim. It occurs to us that Solti was left in charge of the piano intended for the youngest of the countesses since he must also conduct.
