This is a summary of the text:
The text is about the concerto genre, especially the piano concertos of Mozart. It explains the main features of the concerto, such as the struggle, the truce and the reconciliation between the soloist and the orchestra, and the role of virtuosity and thematic development. It also compares the piano concerto with other types of concertos, such as those for violin or wind instruments, and argues that the piano concerto is the ideal form of the genre because of its contrast and independence from the orchestra. It then praises Mozart's concertos as the most important, varied and expressive group of concertos in music history, and claims that they reflect Mozart's artistic life and personality better than any other genre. It also mentions some of the pianists who helped popularize Mozart's concertos in the 20th century, such as Wanda Landowska, Walter Gieseking, Edwin Fischer, Arthur Schnabel and Lili Kraus. The text ends with a brief analysis of some of Mozart's concertos, highlighting their structure, style and emotional impact.
Here are the key facts extracted from the text:
1. The concerto genre consists in the struggle between the orchestra and the solo instrument or group of instruments.
2. The struggle is interspersed with truces and ends in reconciliation.
3. The orchestra and the soloist can share or have their own themes that they use in the struggle.
4. The soloist needs to be virtuosic to fight the weight and colours of the orchestra.
5. Mozart's piano concertos form the most important group of concertos and present him at all ages.
6. Mozart's piano concertos are the most varied and extensive testimony to his artistic life.
7. Lili Kraus had a special affinity with Mozart's piano music and consecrated her life to it.
8. The piano concerto is perhaps the ideal of the genre because the piano stands out clearly against the orchestral background.
9. The violin concerto is more difficult because the violin has to fight harder to keep its personality and inspire the orchestra.
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