ABSTRACT
In most of his concertos, Leopold Mozart begins the first solo entry with either a kind of free intrada, a lead-in, or immediately gives the piano the first subject; in the two concertos in minor keys—K. 466 and K. 491—he gives the piano its own introductory narrative, story-telling subject, which, by its pronounced subjectivity contrasts with the impersonal, fatalistic first orchestra subject. The expressive solo subject of K. 466 has a recitative-like character, and it may well be played a little slower than the basic tempo. It should have a directness that tugs at the heart-strings, but this is incredibly difficult to achieve and can hardly be taught. The melody should sing—too soft a piano would thus be inappropriate. The triplet accompaniment of the piano’s main theme and the ending are purest Beethoven. But this cadenza has the great virtue of dramatic conciseness, and this makes it well suited to the movement, despite the faults mentioned.
