22nd piano concerto (Mozart)

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Wolfgang Amadeus Mozart (painting by Johann Nepomuk della Croce, 1780)

The 22nd Piano Concerto in E flat major, KV 482, with its playing time of approx. 35 minutes, is one of the longest and musically richest concert works by Wolfgang Amadeus Mozart . According to a different count, in which only the piano concertos exclusively by Mozart himself are counted, it is the 16th concert.

Origin and Effect

The “big” E-flat major concerto was written as the first of a group of three piano concertos (KV 482, 488 and 491) dated between December and March 1785/86. Mozart completed the work on December 16, 1785. Its creation coincides with the composition of the opera The Marriage of Figaro . Although the opera was the most prestigious genre of the time, piano concertos and especially Mozart's handwritten solo part enjoyed great popularity. The world premiere may have taken place on December 23rd in Vienna, the date is only approximated by biographical evidence.

For the first time the clarinets appear in the orchestra (instead of the oboes), and they are immediately used in a highly characteristic way. In addition to the festive tutti, the multiple soloist dialogical wind parts give the work a tonal luminosity and warmth.

To a large extent, the piano part is not yet to be understood as final; Mozart himself played the piano at the first performance and enriched it with his ideas. The performers are challenged to fill in their part tastefully beyond the “contour tones” indicated in some places ( New Mozart Edition ). For the above-mentioned reason, no cadences have survived, because Mozart only made these when he left the respective work to others for the first performance.

Musical shape (analysis)

The Piano Concerto in E flat major KV 482 spoils the listener with a wealth of themes and motifs like none of his other piano concertos. Musicologists suspect that Mozart wanted to reconcile the Viennese concert audience after the coolly recorded D minor Concerto K. 466 with a new, now carefree concert, but without giving the impression of a taste concession.

Main theme (bars 1–6), 1st movement

1st movement: Allegro

E flat major, 4/4 time, 374 bars

The orchestral exposition (76 bars) begins with the "antithetical" main theme (bars 1–6) in E flat major: a fanfare- like tutti motto is immediately followed by the withdrawn dialogue between the wind instruments in the form of a descending line. This concise opening theme sounds unchanged a total of four times during the exposition, almost like a portal, then twice in the recapitulation, but is not dealt with in the further course of the movement - as is usual. To this end, Mozart only uses the 2nd part of the main movement (bars 13–20), an expressive dialogue between flute, clarinets, bassoons and horns alternating with the 1st violins. The main movement flows seamlessly into the transition (mm. 29–46), which is played as a whole forte and ends in a semi-conclusive manner . The side movement begins in bar 46 with a rather clichéd introduction in the woodwinds, before the graceful secondary theme (bars 51–58) appears in E flat major in the orchestra and then again seamlessly from the following final group (mm 58–76 ) is replaced. Like the transition before, this forte is also played, whereby Mozart creates a clear contrast to the main and secondary movements.

In the "Entrée" of the piano in bar 77, the pianist introduces himself with another theme before the actual solo exposure (123 bars) begins in bar 94. This time, the main movement in E flat major is followed by a new kind of transition, which modulates to B flat minor (instead of B flat major) and seems to end in a third theme. In the following, Mozart then "corrects" in B flat major and leads, with a little delay, to the actual subordinate movement (bars 152–160). Surprisingly, however, a new secondary theme now appears in the piano, the original 2nd theme (see bar 51) has been left out. The following final group (mm. 198–216), on the other hand, is adopted slightly varied in the dominant key .

The implementation (47 cycles), as measured by weight and versatility of the frame parts is relatively simple in design and is essentially limited to a pianist figuration and a brief reminder of the page set (T. 248-253). Formally it is divided into three sections (after Ratz ): 1. Introduction (T. 216–222), 2. Core (T. 222–253) and 3. Return (T. 254–263).

The recapitulation (111 bars) begins with the main theme in E flat major, but then brings variations of the main movement in the solo part. The transition (mm. 298–309) is shortened compared to the orchestral exposition, but that appears again in the further course original page material (see bar 46ff), this time in the piano. What follows now testifies to Mozart's genius: after a fallacy , the actual secondary theme in bar 322 is initially taken over by the orchestra, but the continuation in the piano in bar 330 ends in its alternative form from the solo exposition. The following final group (bars 359–370) is interrupted by the obbligato solo cadenza and supplemented by a four-bar coda .

Main theme (T. 1–32), 2nd movement

2nd movement: Andante

C minor, 3/8 time, 213 bars

The Andante, one of Mozart's few minor movements, becomes the internalized focus of the concert. It is an unusually running set of variations , the deepest song theme in C minor is initially presented by the muted strings alone. The 32-bar main theme spreads a sad mood with its motifs of sighs and is divided into three sections: the 1st part modulates to E flat major (bars 1–12), the 2nd to G minor (bars 13–20 ) and the third leads back to C minor (mm. 21–32).

After the first solo variation (bars 33–64) of the piano, one suddenly feels as if one has been divertimento into a wind instrument , the flute, clarinets, bassoons and horns are so homogeneously and independently performed here. This 28-bar episode in the parallel key in E flat major is followed by a second piano variation accompanied by strings (bars 93–124) in the basic key. The subsequent maggiore section (20 bars) in the variant key of C major sounds like an excerpt from a Sinfonia concertante for solo flute and bassoon. On closer inspection, however, it turns out that these two wind episodes are not variations, but melodically independent interludes, whereby the series of variations is superimposed with the rondo principle in the sense of a mixed form.

The 3rd variation (bars 145–185), again in C minor, but now dramatically increased, is formally extended to 41 bars and connects all groups of instruments with the piano. The concluding coda (mm. 186–213), the content of which is linked to the last variation and the first interlude, fades away with a simple ascending chromatic piano scale and ends this moving movement in a gentle pianissimo.

At the premiere of the concert, this sentence made such a profound impression on the audience that it had to be repeated.

Main theme (bars 1–8), 3rd movement

3rd movement: Allegro

E flat major, 6/8 time, 435 measures

The finale is also a mixed form: The rondo principle, which is common for final movements, is combined with the sonata movement form ( sonata rondo ), but Mozart also surprises by inserting a minuet- like Andantino episode in 3/4 time as the second couplet .

The 3rd movement begins with an extensive main movement (mm. 1–71) in the basic key of E flat major. The three-part opening ritornell (bars 1–51) consists of the main dance theme (8 bars) in the piano, which, as usual, is taken over by the orchestra, a rather empty middle section (bars 17–33), the recapitulation of the theme and a cadencing final passage by the orchestra. This could actually complete the main movement, but Mozart added another section (bars 51–71) with a new theme in the woodwinds. When listening for the first time, one would suspect a 1st couplet, but the musical event continues to take place in the basic key of E flat major, so that it is more of a "supplemented" thematic secondary idea. As if that hadn't been enough, Mozart again introduces a new theme (bar 74ff), this time in the piano. Here, too, one could again assume the 1st couplet. On closer inspection, however, it turns out that this thematic idea is only a variant of the previous one (cf. bar 52ff) and is still in E flat major. The following transition (mm. 93–127) then modulates into the dominant key of B flat major and finally ends in the 1st couplet (mm. 128–174), the subordinate movement with the contrasting secondary theme (8 bars), which is initially played in the piano, then, formally expanded, appears in the wind section. A short return leads in m. 182 to the resumption of the main theme in E flat major, but in contrast to the ritual at the beginning , this refrain now appears strongly shortened. As a result, Mozart first modulates on the dominant of C minor and then ends semi-conclusively in A flat major, where the music surprisingly comes to a standstill.

After a cadenza-like improvised entrance by the piano, the second couplet follows (mm. 218–264), but this is an andante cantabile in the style of a minuet - quasi "music from another (earlier) time". Such an interruption in a fast final rondo had previously only occurred in Mozart's 9th Piano Concerto KV 271 . The 2nd couplet in the subdominant key of A flat major is divided into three sections: a vocal wind theme is repeated twice in the clarinets and bassoons, slightly varied by the strings and the piano. The return line (bars 253–264) modulates on the dominant of the Variant key in E flat minor (instead of E flat major).

After a further cadenza-like transition through the piano, the actual recapitulation occurs in bar 265. As expected, this begins with the main theme in E flat major, but is greatly shortened overall (compared to the exposition, sections m. 17–51, 52–58 and 67–71 are missing), and Mozart varies the repetition of the theme Melody (mm. 273ff), then deviates again to C minor and then modulates back to the dominant of E flat major. Now the recapitulation of the 1st couplet begins, this time in the basic key. The first couplet largely corresponds to that of the exposition (cf. bar 128) and leads directly to the obligatory solo cadenza. The final resumption of the opening ritornell (T. 362-422), which now appears slightly shortened (without T. 9-16), leads to a coda (T. 422-435). At first there is a varied reminiscence of the previously omitted transition idea (cf. bar 74ff) in the piano, as if Mozart were saying with a wink: “And you thought I had forgotten this topic?” Before the sentence ends powerfully in the tutti.

occupation

Piano solo, 1 flute , 2 clarinets (in B-flat), 2 bassoons , 2 horns (in E-flat), 2 trumpets (in E-flat), timpani (in E-flat and B-flat) and strings : violin (2), viola , cello , double bass

In the 2nd movement the trumpets and timpani are tacet .

Significance in Mozart's oeuvre

The 22nd Piano Concerto K. 482, like its two predecessors, K. 466 and K. 467 , is one of Mozart's symphonic piano concertos. Together with the two subsequent concerts KV 488 and KV 491, these are the only piano concertos in which the composer uses clarinets (instead of the oboes). The rest of the orchestral part is also large and, as in the concerts KV 451 and KV 467, prescribes trumpets and timpani. What is new, however, is the more prominent role of the horns. The multiple soloist dialogical wind parts give the work - in addition to the festive tutti - tonal luminosity and warmth. The innovations are mainly in the area of instrumentation .

The Mozart researcher Alfred Einstein , on the other hand, viewed this concerto as a step backwards, as the corner movements of the concerto have a strong thematic reference to earlier works. The first movement almost quotes some passages from the 19th Symphony KV 132 , which is part of Mozart's early work, and the main theme is reminiscent of the 1st Symphony KV 16 . Outwardly, the finale follows the popular pattern of hunting music in lively 6/8 time (see horn concertos ) and, like the early 9th piano concerto KV 271 , contains an interruption of the rondo form with an inserted minuet.

Mozart always loved the key of E flat major: The Magic Flute begins and ends in this key, as does the Sinfonia concertante for violin, viola and orchestra KV 364, the 39th Symphony KV 543 and 4 piano concertos (KV 271, 365, 449 and 482). E flat major gives the respective music something powerful, something not only Mozart knew, because Beethoven also wrote some characteristic works in this key, above all the 5th Piano Concerto .

literature

  • Hansjürgen Schaefer: concert book orchestral music GO. VEB German publishing house for music, Leipzig 1978.
  • Harenberg concert guide. Harenberg Kommunikation, Dortmund 1998, ISBN 3-611-00535-5 .
  • Marius Flothuis: Mozart's Piano Concertos. CH Beck Wissen, Munich 1998.
  • Erwin Ratz: Introduction to the theory of musical forms. About formal principles in JS Bach's inventions and their significance for Beethoven's compositional technique. Universal Edition, Vienna 1973, ISBN 3-7024-0015-X .
  • Hans Swarowsky, Manfred Huss (Ed.): Preservation of the shape . Writings on work and reproduction, style and interpretation in music. Universal Edition AG, Vienna 1979, ISBN 978-3-7024-0138-2 .
  • Arnold Werner-Jensen: Wolfgang Amadeus Mozart. Music Guide Volume 1: Instrumental Music . Schott Music GmbH & Co, Mainz 2015.

Web links

Individual evidence

  1. ↑ Bernd Stremmel: Piano Concerto No. 22 in E flat major, K. 482. In: Das Klassik-Prisma. Retrieved March 4, 2020 .
  2. ↑ International Mozarteum Foundation Salzburg (ed.): Mozart. Letters and Notes. Complete edition . tape 3: 1780-1786 . Kassel 1963, p. 484 .
  3. ↑ Calvin Dotsey: Something Rare: Mozart's Piano Concerto No. 22 in E-flat major, K. 482. Retrieved March 4, 2020 .
  4. ↑ Classics: Wolfgang Amadeus Mozart. Works sorted by KV (Köchel Directory, 1st edition, 1862). Retrieved March 4, 2020 .