24th Piano Concerto (Mozart)

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The 24th Piano Concerto in C minor, KV 491 is a piano concerto by Wolfgang Amadeus Mozart . According to a different count, in which only the pure and complete works by Mozart are considered, it is the composer's 18th piano concerto.

Emergence

The 24th piano concerto was completed in Vienna in the first half of February 1786 . Like the other great piano concertos written in Vienna, it was written for Mozart's own performances. The autograph contains an unusually large number of changes and corrections for Mozart, which suggests that this concerto was subject to a longer creative process than most of Mozart's works. This concert also took place parallel to the wedding of Figaro at a time when the opera was almost finished and parts of it were already being rehearsed. The piano concerto was presumably premiered on April 7, 1786.

To the music

occupation

Solo piano , flute , 2 clarinets , 2 oboes , 2 bassoons , 2 horns , 2 trumpets , timpani , strings

1st movement: Allegro

The opening Allegro is, besides the main movements of the 11th Piano Concerto K. 413 and 14th Piano Concerto K. 449 , the only main movement of Mozart's Concerts that is notated in 3/4 time. The main theme presented by the strings in unison clearly points to the theme in Beethoven's later C minor concerto . It is repeated by the orchestral tutti , supported by hammering bangs. The woodwinds take on a major role in the formulation of the thought. A second thought is more peaceful in character, but without coming to rest. The solo exposition piano begins in a few concerts before with an independent third topic. What is unusual, however, is the development of a fourth and fifth thought in the solo piano, all of which can be viewed as independent themes; the main theme is only cited now and then. In the exposition, a similar part follows, which processes the main idea. The exposition ends with an E flat major variant of the main theme. This is followed by the implementation part, which mainly deals with the first and third topics. In the recapitulation the themes reappear in a different order. First the main theme is repeated, followed by the fifth and fourth themes, before the second theme concludes the freely designed recapitulation. The third topic, which was still preferred in the implementation, is missing. It reappears in the virtuoso and extended solo cadenza , which is introduced by a climax in the orchestra. For this concert too, Leopold Godowsky wrote alternative cadences for the 1st and 3rd movements. A dramatic final ritornello leads to the coda , which is played by the piano and lets the movement fade to a pianissimo with throbbing chords . As in the D minor Concerto , the musical conflict has not yet been resolved and has been postponed to the following movements.

2nd movement: Larghetto

The middle movement is written in a simple rondo form in E flat major. The structure is reminiscent of the middle movement of the 15th piano concerto KV 450 . The solo piano introduces the simple, song-like chorus theme, which is quickly answered by the orchestra. The first couplet turns to C minor in a moderately dramatic gesture by the woodwinds. In both couplets, the solo piano and orchestra perform together against the woodwind group. The second couplet, which follows a shortened repetition of the refrain, is in A flat major and is cheerful. A short transition is followed by a longer repetition of the chorus. A short coda ends the simple sentence.

3rd movement: Allegretto

The finale is a set of variations . The combative C minor theme is accentuated by the timpani. The first variation consists of figured plays around the theme by the solo piano, supported by the strings. The woodwinds determine the second variation. In the repetition, the piano responds with virtuoso plays. The following third variation consists of full, march-like chords of the piano. The orchestra replies with interjections in forte , which represent a dramatic climax of the movement. The fourth variation is in A flat major. It deviates strongly from the theme of variation and at times has the character of a cheerful and pastoral interlude . This is followed by the extended fifth variation, in which the theme is embellished at length. In the repetitions, Mozart uses motifs from the march-like third variation. This is followed by the second major variation, which is also far removed from the theme. Both major variations have an intermezzo-like character. The following seventh variation, on the other hand, adheres very closely to the theme, even quoting it directly in the first bars. The transition to the eighth and last variation occurs through an entrance to the solo piano. The subsequent variation is in 6/8 time and accelerates the musical happening. A virtuoso coda follows directly and leads the work to a furious ending in C minor with a thundering upward passage.

The final movement once again shows Mozart's long-established sublimity above common formal principles. In this concert he combines the large rondo form with the variation form .

Status

The 24th piano concerto, along with the 20th piano concerto, K. 466, is the only Mozart piano concerto that is in a minor key. Both works are concerts of the greatest intensity of drama. It is precisely here that the concerto clearly indicates Beethoven's oeuvre, especially his 3rd Piano Concerto, also in C minor. This is similar to Mozart's 24th Piano Concerto in terms of theme. The increased use of chromaticism shapes the musical character of abysmal depth, suffering and tragedy.

With this concerto in C minor, Mozart finally overcome music's obligation to ideals of entertainment and found the freedom of the individual artist. It is remarkable that he continued to realize this ideal, of all times, at a time of great popularity with the public, thereby demonstrating his sovereignty over the social obligation of art. In this way, the concerto KV 491, like the D minor work KV 466, is one of the pioneers of the coming musical epochs.

The 24th piano concerto is one of the piano concerts known as Mozart's symphonic concertos. It has a lot in common with the piano concertos KV 482 and KV 488 , as they are the only Mozart piano concertos in which clarinets are prescribed. These three concerts are therefore often referred to as clarinet concerts . The rest of the orchestra is very large and prescribes trumpets and timpani , as in the concerts KV 451 and KV 467 . Since oboes and clarinets are required for this concert , it is actually one of the largest ensembles in Mozart's oeuvre. Only a few works like the Haffner or Paris symphony have a similar instrumentation. It is precisely here that there is a great contrast to the previous piano concerto KV 488 , which was orchestrated by chamber music .

The piano concerto forms a new high point in the spinning technique , which increasingly takes the place of the formation of periods . The concerto is also characterized by a dense polyphonic movement that goes back to Johann Sebastian Bach . As in the D minor Concerto, a large-scale link between the movements of the movements can be determined. The main movement ends unusually in piano , which suggests that the solution of the musical conflicts that have sparked will be postponed to the other movements of the concert. This approach of an overall artistic conception will prevail to perfection in the following musical epochs. The five topics that are placed side by side in the first sentence are extremely unusual. There is no such thematic abundance in any other movement by Mozart.

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

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