CARNEGIE HALL PRESENTS

Performance Sunday, October 12, 2014 | 3 PM

The MET Orchestra

Stern Auditorium / Perelman Stage
Mozart’s Piano Concerto No. 21 gained even greater fame when its beautiful slow movement was used in the soundtrack of the film Elvira Madigan. But the concerto also charms with its regal opening movement and its boisterous finale. Mahler’s last recorded words were “little Mozart,” but his Symphony No. 9 seems far removed from Mozart’s world with its ethereal romantic spirits.

Performers

  • The MET Orchestra
    James Levine, Music Director and Conductor
  • Maurizio Pollini, Piano

Program

  • MOZART Piano Concerto No. 21 in C Major, K. 467
  • MAHLER Symphony No. 9

Audio

Mozart's Piano Concerto No. 21 in C Major, K. 467 (Andante)
Vienna Philharmonic Orchestra | Maurizio Pollini, Piano
Deutsche Grammophon

At a Glance

WOLFGANG AMADEUS MOZART  Piano Concerto No. 21 in C Major, K. 467

Mozart wrote the Piano Concerto No. 2 1 , K. 467 , over the course of just four weeks in February and March 1785, during one of the most successful and busiest periods of his life. One of his great crowd pleasers, the Concerto No. 21 generally maintains the cheerful disposition implied by its C-major key signature. But despite its wealth of beautiful, hummable melodies and its exceeding easiness on the ear, it also presents a formidable challenge for the soloist, containing some of Mozart’s most intricate and finger-bending passagework.


GUSTAV MAHLER  Symphony No. 9

While there is a danger to assuming that an artist’s final work was intended as a valedictory statement, the evidence in the case of Mahler’s Ninth Symphony seems overwhelming. Already obsessed with death as a young, healthy man, Mahler became even more so in his final years, and the Symphony No. 9, filled with musical backward glances and faltering explorations of new sound worlds, sounds throughout like one man’s struggle with and contemplation of all things coming to an end. This interpretation has been put forward by a litany of influential scholars and conductors over the years, including Leonard Bernstein, who wrote that the final movement of the work “is the ultimate farewell … the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up.”

This performance is part of The MET Orchestra.

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