Here, we find Beethoven adhering more to the Mozartian approach to writing a slow movement. I started playing the piano at a young age, attracted to Mozart’s music, and treasured a yellow-labelled – so it must have been Deutsch Gramophone – cassette tape of Mozart’s last piano concerto No.27. I would attempt to play by ear some of the themes, following which I was then sent to piano lessons. My feelings about Mozart’s music are aptly put in the quote from the film Amadeus, where Salieri describes Mozart’s music as ‘filled with unfulfillable longing’. This really does feel most appropriate in articulating the serene yet almost painful second movement.
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Masayuki Tayama has maintained a highly active schedule as both international recitalist and concerto soloist. Tayama’s Wigmore Hall debut early in his career was a sell-out, and he continues to appear regularly at eminent London venues, including Queen Elizabeth Hall, Cadogan Hall and St. John Smith’s Square. He has taught some of the country’s aspiring pianists as tutor at Chetham’s School of Music, and his teaching incorporates the method taught by Sumiko Mikimoto on tone production, muscle relaxation and training for pianists. In 2020, he was appointed Director of the Piano Teachers’ Course UK, the country’s leading professional development course for piano pedagogy. Tayama is also currently in the midst of a project to record Rachmaninov’s complete works for solo piano.
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