…espressamente per me…

If we were to indicate the most deserving works of Mozart’s noble mark of unmistakability, first place would undoubtedly go, on equal merit, to the theatrical masterpieces of the final decade of his life - those between Idomeneo re di Creta and The Magic Flute - and to his piano concertos. What makes these latter unique in the panorama of late eighteenth-century production, when this instrumental genre imposed itself on the scene of music history and became very fashionable, is the increasingly self-referential role played by the soloist, a true incarnation of the composer’s poetic individuality now engaged in supporting or contrasting the other musical self (which is still, paradoxically, a musical self) represented by the orchestra. What the listener can perceive, in other words, is a private, intimate musical self in changing and dynamic interrelation with a public, institutional musical self. It is as if Mozart, through his own music and his enchanting game of confirming and denying his own paternity, wanted to make us participate in the most inscrutable of his thought spaces: that which he reserved for the very idea of Art of Sounds, the nourishment and quintessentital reason for his existence.

(Automatic translation by Bing)