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The origins of these concertos, performed here by Kristian Bezuidenhout, may each be traced to a woman. The so-called "Jeunehomme" Concerto, K.271, a vehicle for rather unexpected musical daring, could instead take it's nickname from the work's dedicatee: the piano virtuoso Louise Victoire Jenamy, daughter of Mozart's old friend, the dancer Noverre. As for K.456, cast in a more traditional mold yet so elaborate and seductive, it was apparently composed for Maria Theresia von Paradis, a blind pianist acclaimed throughout Europe. Two works distinctly different in character, while somehow being aptly complementary.
The origins of these concertos, performed here by Kristian Bezuidenhout, may each be traced to a woman. The so-called "Jeunehomme" Concerto, K.271, a vehicle for rather unexpected musical daring, could instead take it's nickname from the work's dedicatee: the piano virtuoso Louise Victoire Jenamy, daughter of Mozart's old friend, the dancer Noverre. As for K.456, cast in a more traditional mold yet so elaborate and seductive, it was apparently composed for Maria Theresia von Paradis, a blind pianist acclaimed throughout Europe. Two works distinctly different in character, while somehow being aptly complementary.
3149020946596
Mozart: Piano Concertos K. 271 & 456
Artist: Kristian Bezuidenhout
Format: CD
New: Available $17.98
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Formats and Editions

DISC: 1

1. Mozart: Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": I. Allegro
2. Mozart: Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": II. Andantino
3. Mozart:Piano Concerto No. 9 in E-Flat Major, K. 271 "Jeunehomme": III. Rondeau. Presto
4. Mozart: Piano Concerto No. 18 in B-Flat Major, K. 456: I. Allegro Vivace
5. Mozart: Piano Concerto No. 18 in B-Flat Major, K. 456: II. Andante Un Poco Sostenuto
6. Mozart: Piano Concerto No. 18 in B-Flat Major, K. 456: III. Allegro Vivace

More Info:

The origins of these concertos, performed here by Kristian Bezuidenhout, may each be traced to a woman. The so-called "Jeunehomme" Concerto, K.271, a vehicle for rather unexpected musical daring, could instead take it's nickname from the work's dedicatee: the piano virtuoso Louise Victoire Jenamy, daughter of Mozart's old friend, the dancer Noverre. As for K.456, cast in a more traditional mold yet so elaborate and seductive, it was apparently composed for Maria Theresia von Paradis, a blind pianist acclaimed throughout Europe. Two works distinctly different in character, while somehow being aptly complementary.
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