How do you make a Mozart-Poulenc sandwich? Take two shapely and crisp piano concertos and insert a succulently spicy Sinfonietta between them. Both outer slices were very well baked indeed by Wolfgang Amadeus in his recently acquired Viennese oven - his Salzburg premises having closed in 1781 when Mozart terminated his employment with Cardinal Colloredo in order to try his luck in the Imperial City. The piano concertos were part of this undertaking, since in Vienna he planned to earn his family's livelihood in part by writing concertos, while also manning the piano as the soloist for his own works.
By playing both the G major and C minor piano concertos, Piotr Anderszewski juxtaposes two contradictory worlds: the angelically innocent and garrulous tone of the former puts it in the "typical” category, while the dark drama of the latter makes it a representative of the "atypical”, since over the course of his entire career, Mozart only wrote two piano concertos in a minor key.
The exacting and open-minded Scottish Chamber Orchestra, which also plays plenty of contemporary music, will be performing Poulenc's 1947 on its own, without a soloist. This work tends toward the characteristics of the Piano Concerto in G-major: it is a carefree, entertaining four-movement Neoclassical work brimming with playfulness and light dance rhythms.

The program is organised on behalf of the Public Foundation for Research on Central and Eastern European History and Society within the framework of the Hungarian Presidency of the Visegrad Group 2017/2018.

Presented by: Müpa Budapest