In 1785, Mozart was at the height of his career in Vienna, not only working on the opera "The Marriage of Figaro" but also composing three new piano concertos in quick succession. These works, including the E-flat major Concerto No. 22, K. 482, the C minor Concerto No. 24, K. 491, and the A major Concerto No. 23, K. 488, which was placed between them, were composed between December and March.
To overcome his financial difficulties, Mozart organized three concerts in December 1785 for his 120 subscribers. The E-flat major Concerto, K. 482, which was scored for clarinets for the first time, was particularly well-received by the audience; its striking chord changes and impressive melodic lines provided plenty of surprises.
It is remarkable that Mozart mastered very different forms of expression simultaneously: While the E-flat major concerto shines with noble tonal colors, the C minor concerto is characterized by a somber mood. Both concertos employ timpani and trumpets to create dramatic effects. The solo part in the E-flat major concerto dazzles with virtuosity, while the C minor concerto conveys a sense of hopelessness.
In the second movement of the E-flat major concerto, the shift to B-flat minor and the artful development section particularly captivated the audience. Here, Mozart skillfully combines melodic subtlety with technical brilliance. The variation form of the second movement was very well received by the Viennese public.
The C minor concerto, K. 491, with its large orchestral forces, stands out with a distinctive melody that conveys despair and bleakness. The finale impresses with its varied variations on the main theme.
With his piano concertos Nos. 22 and 24, Mozart impressively demonstrated his compositional sophistication, his innovative power in instrumentation, and his profound artistic expressiveness.