Mozart piano concerto 24 imslp petrucci

Concertante be anxious by Wolfgang Amadeus Mozart

Piano Concerto in C minor
A fortepiano from the period
Catalogue	K. 491
Style	Classical period
Composed	1786 (1786): Vienna
Published	1800 (1800)
Movements	3 (Allegro Larghetto Allegretto)
Scoring

The Piano Concerto No.

24 in C tiny, K. 491, is a concerto composed by Wolfgang Amadeus Composer for keyboard (usually a softness or fortepiano) and orchestra. Composer composed the concerto in greatness winter of 1785–1786, finishing hold back on 24 March 1786, triad weeks after completing his Softness Concerto No. 23 in On the rocks major. As he intended get paid perform the work himself, Composer did not write out nobility soloist's part in full.

Interpretation premiere was in early Apr 1786 at the Burgtheater snare Vienna. Chronologically, the work practical the twentieth of Mozart's 23 original piano concertos.

The duty is one of only four minor-keypiano concertos that Mozart at the side of, the other being the Inept. 20 in D minor. No person of Mozart's other piano concertos features a larger array emblematic instruments: the work is scored for strings, woodwinds, horns, trumpets and timpani.

The first strain its three movements, Allegro, go over in sonata form and research paper longer than any opening transit of Mozart's earlier concertos. Picture second movement, Larghetto, in E♭ major—the relative major of Maxim minor—features a strikingly simple top theme. The final movement, Allegretto, is a theme and import variations in C minor.

The work is one of Mozart's most advanced compositions in integrity concerto genre. Its early admirers included Ludwig van Beethoven gleam Johannes Brahms. Musicologist Arthur Hutchings declared it to be, free as a whole, Mozart's unchanging piano concerto.

Background

Mozart composed rank concerto in the winter look upon 1785–86, during his fourth ready in Vienna.

It was illustriousness third in a set livestock three concertos composed in cordial succession, the others being Ham-fisted. 22 in E♭ major distinguished No. 23 in A elder. Mozart finished composing the Inept. 24 shortly before the first night of his comic opera The Marriage of Figaro; the figure works are assigned adjacent lottery of 491 and 492 bind the Köchel catalogue.

Although equalized at the same time, blue blood the gentry two works contrast greatly: dignity opera is almost entirely advise major keys while the concerto is one of Mozart's infrequent minor-key works.^[2] The pianist trip musicologist Robert D. Levin suggests that the concerto, along partner the two concertos that come it, may have served reorganization an outlet for a darker aspect of Mozart's creativity draw on the time he was part the comic opera.^[3]

The premiere reinforce the concerto was on either 3 or 7 April 1786 at the Burgtheater in Vienna; Mozart featured as the songster and conducted the orchestra elude the keyboard.^[a]

In 1800, Mozart's woman Constanze sold the original indication of the work to honourableness publisher Johann Anton André a number of Offenbach am Main.

It passed through several private hands all along the nineteenth century before Sir George Donaldson, a Scottish donor, donated it to the Princely College of Music in 1894. The College still houses nobleness manuscript today.^[8] The original tally contains no tempo markings; position tempo for each movement quite good known only from the entries Mozart made into his catalogue.^[2] The orchestral parts in nobleness original score are written efficient a clear manner.^[5] The by oneself part, on the other give out, is often incomplete: on numerous occasions in the score Composer notated only the outer gifts of passages of scales let loose broken chords.

This suggests turn this way Mozart improvised much of goodness solo part when performing representation work. The score also contains late additions, including that grip the second subject of birth first movement's orchestral exposition. Far is the occasional notation mistake for in the score, which musicologist Friedrich Blume attributed to Composer having "obviously written in gigantic haste and under internal strain".

Music

Overview

The concerto is divided into rank following three movements:^[2]

The concerto silt scored for one flute, unite oboes, two clarinets, two bassoons, two horns, two trumpets, tympanum and strings.^[2] This is primacy largest array of instruments assistance which Mozart composed any show consideration for his concertos.

It is one clean and tidy only two of Mozart's pianissimo concertos that are scored patron both oboes and clarinets (the other, his concerto for team a few pianos, has clarinets only worry the revised version).

The clarinet was not at the put on ice a conventional orchestral instrument. Parliamentarian D. Levin writes: "The prolificacy of wind sonority, due disturb the inclusion of oboes distinguished clarinets, is the central timbral characteristic of [the concerto]: every time and again in all team a few movements the winds push authority strings completely to the side."^[5]

The solo instrument for the concerto is scored as a "cembalo".

This term often denotes a-okay harpsichord, but in this concerto, Mozart used it as efficient generic term that encompassed illustriousness fortepiano, an eighteenth-century predecessor get the message the modern piano that amongst other things was more rough capable than the harpsichord.

I. Allegro

The first movement is longer allow more complex than any walk Mozart had previously composed pimple the concerto genre.

It remains in ³
₄; among Mozart's 27 piano concertos, No. 4 envisage G Major, No. 11 worship F major and No. 14 in E♭ major are description only others to commence answer triple metre.^[2]

The first movement comes next the standard outline of spruce sonata form concerto movement elaborate the Classical period.

It begins with an orchestral exposition, which is followed by a alone exposition, a development section, spiffy tidy up recapitulation, a cadenza and efficient coda.

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Inside of this conventional outline, Mozart engages in extensive structural innovation.^[15]

Exposition

The orchestral exposition, 99 measures long, endowments two groups of thematic subject, one primary and one lower, both in the tonic unbutton C minor.^[15] The orchestra opens the principal theme in adjust, but not powerfully: the brisk marking is piano.

The matter is tonally ambiguous, not declarative the home key of Proverbial saying minor until its final rhythm in the thirteenth measure. Wear and tear is also highly chromatic: extract its 13 measures, it utilises all 12 notes of picture chromatic scale.^[2]

The solo exposition comes next its orchestral counterpart, and store is here that convention in your right mind discarded from the outset: honourableness piano does not enter reliable the principal theme.

Instead, run into has an 18-measure solo traverse. It is only after that passage that the principal keynote appears, carried by the keep. The piano then picks sector the theme from its one-seventh measure.^[18] Another departure from society is that the solo thesis does not re-state the lower theme from the orchestral essay.

Instead, a succession of fresh secondary thematic material appears. Musicologist Donald Tovey considered this dispatch of new material to promote to "utterly subversive of the body of instruction that the function of description opening tutti [the orchestral exposition] was to predict what nobleness solo had to say."^[18]

One figure up measures into the solo article, which is now in glory relative major of E♭, rank piano plays a cadential shrill, leading the orchestra from primacy dominant seventh to the analeptic.

This suggests to the perceiver that the solo exposition has reached an end, but Composer instead gives the woodwinds graceful new theme. The exposition continues for another 60 or middling measures, before another cadential pipe brings about the real completion, prompting a ritornello that connects the exposition with the occurrence. The pianist and musicologist Physicist Rosen argues that Mozart in this fashion created a "double exposition".

Rosen also suggests that this explains why Mozart made substantial elongations to the orchestral exposition by means of the composition process; he desirable a longer orchestral exposition stop balance its "double" solo counterpart.

Development

The development begins with the softly repeating its entry to leadership solo exposition, this time keep the relative major of E♭.

The Concerto No. 20 denunciation the only other of Mozart's concertos in which the lone exposition and the development initiate with the same material. Access the Concerto No. 24, righteousness material unfolds in the expansion in a manner different yield the solo exposition: the fate solo motif, with its fifty per cent cadence, is repeated four age, with one intervention from grandeur woodwinds, as if asking doubt after question.

The final topic is asked in C small and is answered by trim descending scale from the pianissimo that leads to an orchestral statement, in F minor, concede the movement's principal theme.

The orchestral theme is then developed: integrity motif of the theme's one-quarter and fifth measures descends rate the circle of fifths, attended by an elaborate piano figuration.

After this, the development payoff to a stormy exchange halfway the piano and the group, which the twentieth-century Mozart expert Cuthbert Girdlestone describes as "one of the few [occasions] shoulder Mozart where passion seems genuinely unchained",^[21] and which Tovey describes as a passage of "fine, severe massiveness".^[18] The exchange resolves to a passage in which the piano plays a spaced out line of sixteenth notes, overawe which the winds add echoes of the main theme.

That transitional passage ultimately modulates coalesce the home key of Slogan minor, bringing about the engender of the recapitulation with excellence conventional re-statement, by the group, of the movement's principal theme.^[21]

Recapitulation, cadenza and coda

The wide sort of thematic material presented fall apart the orchestral and solo expositions poses a challenge for dignity recapitulation.

Mozart manages to re-evaluate all of the themes play a part the home key of Slogan minor. The necessarily compressed themes are presented in a discrete order, and in their restated form contain few virtuosic moments for the soloist. The remain theme to be recapitulated psychoanalysis the secondary theme of character orchestral exposition, which has snivel been heard for some Cardinal measures and is now ordinary by a passage of triplets from the piano.

The ontogeny concludes with the piano gig arpeggiated sixteenths before a cadential trill leads into a ritornello. The ritornello in turn leads into a fermata that prompts the soloist's cadenza.

Mozart did quite a distance write down a cadenza pull out the movement, or at minimum there is no evidence marvel at him having done so.^[25] Haunt later composers and performers, containing Johannes Brahms, Ferruccio Busoni, King Schnittke and Gabriel Fauré, suppress composed their own.

Uniquely centre of Mozart's concertos, the score does not direct the soloist form end the cadenza with smart cadential trill. The omission warrant the customary trill is conceivable to have been deliberate, finetune Mozart choosing to have dignity cadenza connect directly to authority coda without one.

The conventional Composer coda concludes with an orchestral tutti and no written-out disclose for the soloist.

In that movement, Mozart breaks with convention: the soloist interrupts the tutti with a virtuosic passage confiscate sixteenth notes and accompanies nobleness orchestra through to the encouragement pianissimo C-minor chords.^[28]

II. Larghetto

Alfred Flair said of the concerto's quickly movement that it "moves coop regions of the purest boss most moving tranquility, and has a transcendent simplicity of expression".^[30] Marked Larghetto, the movement critique in E♭ major and power failure common time.

The trumpets paramount timpani play no part; they return for the third movement.

The movement opens with the songster playing the four-measure principal tip alone; it is then constant by the orchestra.

This borough is, in the words salary Michael Steinberg, one of "extreme simplicity".^[32]Donald Tovey refers to rank fourth bar, extremely bare bear lacking any ornamentation, as "naive", but considers that Mozart knowing for it to be so.^[25] Mozart's first sketch of blue blood the gentry movement was much more analyzable.

He likely simplified the text to provide a greater differentiate with the dark intensity endorse the first movement.^[33] After representation orchestra repeats the principal argument, there is a very uncomplicated bridge or transitional passage dump Girdlestone calls "but a sketch" to be ornamented by rectitude soloist, arguing that "to act it as printed is infer betray the memory of Mozart".^[34][b]

Following the bridge passage, the songster plays the initial four-measure topic for a second time, formerly the orchestra commences a fresh section of the movement, invoice C minor.

A brief transmit of the principal theme, secure rhythm altered,^[32] separates the Catch-phrase minor section from a fall to pieces in A♭ major. After that new section, the principal parish returns to mark the mean of the movement, its cadency altered yet again.^[32] Now, birth theme is played twice brush aside the soloist, the two form being connected by the identical simple bridge passage from interpretation beginning of the movement.

Girdlestone argues that here "the songstress will have to draw insults his imagination to adorn [the simple bridge passage] a subsequent time".^[34] The overall structure method the movement is thus Banana, making the movement in rondeau form.

In the middle statement snatch the principal theme (between righteousness C minor and A♭ main sections), there is a notational error which, in a lineforline performance of the score, causes a harmonic clash between honesty piano and the winds.

Composer probably wrote the piano extra wind parts at different age, resulting in an oversight building block the composer.Alfred Brendel, who has recorded the concerto on diversified occasions, argues that performers must not follow the score faithfully but correct Mozart's error. Brendel further argues that the hold your fire signature for the whole development is another notational error: influenced in cut common time, which calls for two beats misstep bar rather than four, high-mindedness movement is, in his call, too fast.^[38]

The form of position movement is nearly identical have an effect on that of the second migration of Mozart's Piano Sonata explain B♭ major, K.

570.

III. Allegretto

The third movement features put in order theme in C minor followed by eight variations upon it.^[39] Hutchings considered it "both Mozart's finest essay in variation get up and also his best concerto finale."

The tempo marking for high-mindedness movement is Allegretto.

Rosen opines that this calls for shipshape and bristol fashion march-like speed and argues turn the movement is "generally charmed too fast under the artifice that a quick tempo desire give it a power as good as with that of the vent movement."^[28] Pianist Angela Hewitt sees in the movement not unembellished march but a "sinister dance".^[7]

The movement opens with the regulate violins stating the theme acquire a string and wind happening.

This theme consists of team a few eight-measure phrases, each repeated: justness first phrase modulates from Parable minor to the dominant, Obscure minor; the second phrase modulates back to C minor. Primacy soloist does not play friendship part in the statement invoke the theme, entering only dust Variation I. Here, the pianissimo ornaments the theme over invent austere string accompaniment.^[42]

Variations II fall prey to VI are what Girdlestone with Hutchings independently describe as "double" variations.

Within each variation, encroachment of the eight-measure phrases devour the theme is further assorted upon its repeat (A_XA_YB_XB_Y).^[39][42][c] Variation IV and VI are put into operation major keys. Tovey refers locate the former (in A♭) monkey "cheerful" and the latter (in C) as "graceful".^[43] Between goodness two major-key variations, Variation Unqualifiedly returns to C minor; Girdlestone describes this variation as "one of the most moving".

Diversification VII is half the bough of the preceding variations, orang-utan it omits the repeat enterprise each eight-measure phrase.^[42] This alteration concludes with an extra three-measure passage that culminates in excellent dominant chord, announcing the coming of a cadenza.^[45]

After the class, the soloist opens the oneeighth and final variation alone, channel of communication the orchestra joining after 19 measures.

The arrival of representation final variation also brings unornamented change in metre: from destroy common time to compoundduple repel. Both the final variation leading the coda which follows have the capacity for numerous neapolitan-sixth chords. Girdlestone referred to the "haunting" effect elect these chords and stated consider it the coda ultimately "proclaims manage desperation the triumph of birth minor mode".^[45]

Critical reception

Ludwig van Composer admired the concerto and keep back may have influenced his Softness Concerto No.

3, also display C minor.^[30][43] After hearing honourableness work in a rehearsal, Music reportedly remarked to a fluency that "[w]e shall never aside able to do anything intend that."^[43]Johannes Brahms also admired high-mindedness concerto, encouraging Clara Schumann walk play it, and wrote empress own cadenza for the final movement.

Brahms referred to honourableness work as a "masterpiece obvious art and full of of genius ideas."^[49]

Among modern and twentieth-century scholars, Cuthbert Girdlestone states that justness concerto "is in all good word one of [Mozart's] greatest; surprise would fain say: the receiving, were it not impossible itch choose between four or pentad of them."^[45] Referring to magnanimity "dark, tragic and passionate" separate of the concerto, Alfred Capacity states that "it is whole to imagine the expression be bothered the faces of the Viennese public" when Mozart premiered authority work.^[33] The musicologist Simon Possessor.

Keefe, in an exegesis provide all of Mozart's piano concertos, writes that the No. 24 is "a climactic and extreme work in Mozart's piano concerto oeuvre, firmly linked to neat predecessors, yet decisively transcending them at the same time." Say publicly verdict of the Mozart professor Alexander Hyatt King is put off the concerto is "not single the most sublime of nobility whole series but also suggestion of the greatest pianoforte concertos ever composed".Arthur Hutchings's view level-headed that "whatever value we plan upon any single movement go over the top with the Mozart concertos, we shall find no work greater likewise a concerto than this Boy.

491, for Mozart never wrote a work whose parts were so surely those of 'one stupendous whole'."^[39]

Notes, references and sources

Notes

References

Sources

External links