7th piano concerto (Mozart)
The 7th Piano Concerto in F major, KV 242 , is a piano concerto for three pianos by Wolfgang Amadeus Mozart . In a deviating counting of Mozart's pure piano concertos, it is not counted.
Emergence
The 7th piano concerto was written in Salzburg in 1776 . Mozart composed it for Countess Antonia Lodron, who comes from the well-known Salzburg family, and her two daughters Aloisia and Josepha. That is why the concert is often referred to as the “Lodron concert” . It is one of the few piano concertos by Mozart that was not composed for personal use.
To the music
1st movement: Allegro
The opening Allegro begins with a hilarious, up-and-coming theme from the orchestra. A second, song-like thought follows. The solo pianos then play the main theme together, then they split up into melody and accompaniment. Now the orchestra is taking part again. The implementation begins with the thematic processing of the main theme by the soloists. Some modulations lead to the use of the recapitulation , which is largely in accordance with the rules. The solo cadenza again divides the piano parts into accompaniment and part leading. In the original version, the simplest third voice only had to contribute a few chords. A short final ritual ends the sentence.
2nd movement: Adagio
The second movement bears the tempo designation Adagio , which is rare in Mozart and almost only used in the early concerts . As in the 8th piano concerto , the middle movement is in the main movement of the sonata . The Adagio begins with a lyrical rococo theme of the strings, followed by a second thought of a similar character. The solo pianos are mostly limited to playing around the theme with figurations . A short implementation part uses motifs from the main topic. The recapitulation changes the tasks of the orchestra and pianos, then the soloists play the main theme to the interjections of the strings. The Adagio also contains a short solo cadenza followed by a short final ritornello .
The final rondo is written in minuet tempo . The solo pianos intone the dance-like refrain theme. A longer post contains various new motifs. The first couplet brings a brief darkening of the musical events and ends with an entry from the first piano to repeat the refrain. The second couplet is also designed very solo. It leads to what appears to be the end of the movement, which is followed by the renewed repetition of the refrain, now to the pizzicato accompaniment of the strings.
Status
The 7th Piano Concerto does not represent a further development of the genre. It can hardly be included in the development of Mozart's solo concerto, since it was composed purely as a commission for the unusual number of three pianos. The solo part was kept very simple as the dedicators' skills were limited. Since this was particularly true of the third part of the youngest daughter Josepha, Mozart reworked the concerto for two pianos around 1779 without having to change the internal structure. Only in this version did Mozart consider the concerto to be a fully valid work. Formally, the concert follows on from the simple, early piano concertos KV 238 and KV 246 , which were also composed in 1776. It is structurally very similar to the 8th Piano Concerto K. 246, which is also not intended for personal use , but requires a greater expansion of the formal elements because of the three solo instruments.
In a recording with Christoph Eschenbach and Justus Frantz from 1981, the then Federal Chancellor Helmut Schmidt played the third piano part.
literature
- Hansjürgen Schaefer: concert book orchestral music GO. VEB Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-370-00036-9 .
- 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 .
Web links
- Concerto in F for three or two pianos (“Lodron Concerto”). KV 242 : Score and critical report in the New Mozart Edition
- Comment capriccio-kulturforum