3rd piano concerto (Mozart)

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The 3rd piano concerto in D major, KV 40 is an early piano concerto by Wolfgang Amadeus Mozart . According to a different count, in which only the pure and completely Mozart piano concertos are counted, this concert is not listed.

Emergence

The 3rd piano concerto by Mozart, like the two preceding and following concerts, belongs to the so-called pasticcio concerts . The name pasticcio refers to works whose music actually comes from other composers. Mozart arranged the music of various lesser-known composers for orchestra and solo piano. The 3rd Piano Concerto KV 40 is based on sonata movements by the composers Johann Gottfried Eckard (1735–1809) and Leontzi Honauer (* around 1735–?). The finale is based on a piece by Carl Philipp Emanuel Bach . The work was probably written in 1767, when the composer was born in 1756. This explains the extremely simple implementation of the implementation for solo piano and orchestra and the practice piece character of the work.

To the music

The sonata movements on which the work is based are of an early classical nature. The Allegro maestoso begins with three tutti strokes in which even the kettledrum participates. From this the solemn and brilliant main theme develops. A second motif can hardly be described as an independent second theme. The solo piano immediately takes on the typically orchestral theme and continues it. Here the second thought also develops in more detail, which is even turned shortly after Moll. A subsequent implementation-like part also turns the main idea to minor and processes it with some modulations and playings. In this movement, too, Mozart prescribes a solo cadenza , albeit a very short one . An abridged closing ritual ends the festive movement.

The Andante begins with a song-like theme carried by the strings. The solo piano takes on the idea of ​​floating accompaniment from the strings. A longer endorsement formulates the idea with decorative accessories. The stanza-like movement is embellished in the second stanza with more extensive allusions to the theme.

The presto of the last movement is the fastest tempo mark of all movements in Mozart's piano concertos. He never used such a tempo mark in his own works. The final movement, originally composed by Carl Philipp Emanuel Bach , begins with a stormy upward run of the orchestra, which is reinforced again with timpani and trumpets . The exuberant thought is immediately picked up by the solo piano and developed further in seemingly endless movement. This impression is mainly created by the incessantly hammering accompanying chords of the strings and the left hand of the piano. The short and exuberant movement ends in this style with a few chords from the entire orchestra.

Status

Before Mozart wrote his first own and fully valid piano concerto with the 5th piano concerto KV 175 in 1773 , a total of seven exercises and pasticci concerts were written. The first four piano concertos ( KV 37 , KV 39 , KV 40 and KV 41 ) were written before 1764 based on simple sonata movements by little-known composers. Three further concertos, KV 107, were modeled on somewhat more demanding sonatas by Johann Christian Bach . In contrast to the earliest pasticci concerts, these three works were not included in the count of the old Mozart edition, which differentiates between 27 piano concertos. It was only about six years after composing these early works that Mozart conceived his first piano concerto. Here Mozart then reaches the first valid form of the modern piano concerto, which is not yet available in the 3rd piano concerto.

literature

  • Harenberg concert guide. Harenberg Kommunikation, Dortmund 1998, ISBN 3-611-00535-5 .
  • Marius Flothuis: Mozart's Piano Concertos. CH Beck Wissen, Munich 1998, ISBN 3-406-41874-0 .

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