Mozart: Piano Concerto No. 20, K. 466 & No. 21, K. 467 - Philippe Entremont, Müncher Symphoniker

Wolfgang Amadeus MOZART: Piano Concerto No. 20 in D Minor, K. 466: I. Allegro – II. Romance – III. Allegro assai – Piano Concerto No. 21 in C Major, K. 467: I. Allegro maestoso – II. Andante – III. Allegro vivace assai.

Philippe Entremont, Piano
Müncher Symphoniker

https://philippeentremont.com/

Wolfgang Amadeus Mozart

Mozart is an empire’s child at a time when the house of Habsburg is dominating a territory whose wealth lies in the diversity of civilizations. Culture mosaic studded by an almost obsolete monarchy, Austria offers the delights of confluent regions: the peppered taste of the Orient, two grams of fog, halfway mixed with German fogs, everything is horse coaching around, violins, kettle drums and horns. It is at Salzburg, the 27th of April 1756, that Mozart sees the world for the first time in the circle of an artisan family. Very early he begins his career producing himself brilliantly in concert, taking for a drive throughout Europe his social genius under parental authority. Not forgetting that journeying had made him a rascal. Since 1762 or rather 1766, he takes advantage of the least brawnive improv— making his musical knowledge especially on Johan Sebastian Bach’s sons.

When in 1785 Mozart composes the piano concerto K 466 and K 467, he has to a certain extent already reached maturity. He who to the highest degree was bothered by the servant status he had just broken with the archbishop of Vienna, his Grace Colloredo. Dismal for lack of discipline he sets forth in another direction, that of the artist at an age when his fellow creatures are yet considered as house employees. Independent! The very consciousness of his talent does not become aware of material constraint, all to the contrary. So he tries to build up a network of relations that would allow him to live in Vienna on his art. One woman is affording a lot to him: Constance, Aloysia’s, his old flame’s little sister. Mozart, despite of his father’s warning, has chosen to marry this young and frivolous girl who enjoys in pleasurable events more than listening to music. Be it by seriousness or simply by curiosity partaking in what was fashionable at the time — many high spirits were fascinated by the rituals of initiation and all the mystery that was about it — Mozart became a member of Freemasonry. In February 1785, he is both visited by his father and complimented by Joseph Haydn who makes the following declaration to Leopold: “Honestly and before the Lord, your son is the greatest composer I ever knew, by name or person. He has a good taste, better, a deep knowledge of composition”. Leopold was deeply impressed by the performance of the K 466 concert, and even more by the fact that the composer was said to be publicly congratulated by the Emperor of Austria himself. It will shortly be followed by the K 467 concert, which abounds with this beautiful energy of which a couple of strokes are enough to feature Mozart’s music.

To listen to these works means rising from a youth bath and find oneself in an everlasting sunshine while marching through harmony. Everything seems easy to the fascinated listener.

Yet playing these concerts affords a good deal of talent. It is as perilous as a piece of music may be that is enlightened by a graciousness such as to afford an expression to be both bashful and sensitive. Philippe Entremont entertains a real passion for Mozart, the latter passion which is based on the consciousness of the deep abysses hidden behind the wholesome appearance of trills and pizzicati. Let’s be tempted by the exemplary career of a French pianist of worldwide renown: concert player at the age of 16, Marguerite Long prize winner three years later; Philippe Entremont is regularly directing the Vienna Chamber Orchestra and the Israel Chamber Orchestra (he is citizen by honour of this country); first guest director of the Shanghai Radio Symphonic Orchestra, constantly solicited in concert in the United States, he became director of the American Music School of Fontainebleau, which designates him as the inheritor of French tradition open to the world.

To know how Entremont proceeds is of primary importance. It’s the delicate yet firm touch, a warm colour allowing for the fortissimos to be tinged with tenderness, and the longing for building up his interpretation. “As a pianist, he says, I am trying to be as nearby as possible the intention of the composer I am interpreting. A piece of music has always its own architecture which to discover and to reveal according to one’s own nature is the interpreter’s task. If Philippe Entremont rejects cheap effects, he affections musical passion. Thus when taking up with the two Mozart concerts he just seems to enter into his own premises, finding without seeming to do so inédited beauties in which he invites us to partake.

Frédéric Casadesus

Translation: Inès Claraz