Concerto KV. 242 „Lodron” by W. A. Mozart. Two or three pianos?

Abstract

Starting from a common stage experience, the two authors analyze in parallel the two versions of the "Lodron" Concerto, looking for differences that can determine the option for one or the other. A historical framework, interpretive suggestions and aesthetic preferences complete the analysis, which reaches a personal, but not obligatory, conclusion reflecing the spirit of musical interpretation that pursues a balance between the objective and subjective components. We believe that the balance is tipped towards the two-piano version, not only for musical reasons, but also for logistical ones, sometimes being difficult to find two quality pianos in a concert hall, three even more complicated. After all, Mozart himself composed for three pianos especially for the Countess Lodron and her daughters, the later version for two pianos being for himself and his sister; therefore, it is a composition conceived in accordance with the recipients and the first interpreters of the work, this being almost a rule at that time. Thus, in the current era, both versions are valid, the authors preferring the one for two pianos, suitable for a piano duo, as the authors of this article consider themselves.