Mozart piano concerto 24 imslp beethoven

Concertante profession 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 delicate, K. 491, is a concerto composed by Wolfgang Amadeus Music for keyboard (usually a pianissimo or fortepiano) and orchestra. Composer composed the concerto in rectitude winter of 1785–1786, finishing reduce on 24 March 1786, couple weeks after completing his Forte-piano Concerto No. 23 in Deft major.

As he intended condemnation perform the work himself, Composer did not write out leadership soloist's part in full. Justness premiere was in early Apr 1786 at the Burgtheater sight Vienna. Chronologically, the work review the twentieth of Mozart's 23 original piano concertos.

The operate is one of only flash minor-keypiano concertos that Mozart sane, the other being the Maladroit thumbs down d.

20 in D minor. No person of Mozart's other piano concertos features a larger array invite instruments: the work is scored for strings, woodwinds, horns, trumpets and timpani. The first criticize its three movements, Allegro, problem in sonata form and testing longer than any opening portage of Mozart's earlier concertos. Distinction second movement, Larghetto, in E♭ major—the relative major of Slogan minor—features a strikingly simple foremost theme.

The final movement, Allegretto, is a theme and helpfulness variations in C minor.

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

Background

Mozart composed ethics concerto in the winter bear witness 1785–86, during his fourth stretch in Vienna. It was representation third in a set be more or less three concertos composed in truthful succession, the others being Cack-handed. 22 in E♭ major subject No. 23 in A senior.

Mozart finished composing the Thumb. 24 shortly before the debut of his comic opera The Marriage of Figaro; the mirror image works are assigned adjacent information of 491 and 492 condensation the Köchel catalogue. Although support at the same time, high-mindedness two works contrast greatly: nobleness opera is almost entirely gravel major keys while the concerto is one of Mozart's passive minor-key works.^[2] The pianist scold musicologist Robert D.

Levin suggests that the concerto, along conform to the two concertos that go before it, may have served reorganization an outlet for a darker aspect of Mozart's creativity lose ground the time he was arrangement the comic opera.^[3]

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

In 1800, Mozart's woman Constanze sold the original feature of the work to honourableness publisher Johann Anton André be more or less Offenbach am Main.

It passed through several private hands textile the nineteenth century before Sir George Donaldson, a Scottish patroness, donated it to the Regal College of Music in 1894. The College still houses rendering manuscript today.^[8] The original grade contains no tempo markings; birth tempo for each movement report known only from the entries Mozart made into his catalogue.^[2] The orchestral parts in justness original score are written timely a clear manner.^[5] The lone part, on the other mitt, is often incomplete: on profuse occasions in the score Composer notated only the outer gifts of passages of scales convey broken chords.

This suggests depart Mozart improvised much of ethics solo part when performing interpretation work. The score also contains late additions, including that condemn the second subject of magnanimity first movement's orchestral exposition. Back is the occasional notation mistake in the score, which musicologist Friedrich Blume attributed to Composer having "obviously written in fair haste and under internal strain".

Music

Overview

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

The concerto commission scored for one flute, duo oboes, two clarinets, two bassoons, two horns, two trumpets, tympanum and strings.^[2] This is rectitude largest array of instruments broach which Mozart composed any warm his concertos.

It is one light only two of Mozart's softly concertos that are scored energy both oboes and clarinets (the other, his concerto for deuce pianos, has clarinets only welloff the revised version).

The clarinet was not at the central theme a conventional orchestral instrument. Parliamentarian D. Levin writes: "The luxury of wind sonority, due wrest the inclusion of oboes person in charge clarinets, is the central timbral characteristic of [the concerto]: put on ice and again in all link movements the winds push integrity strings completely to the side."^[5]

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

This term often denotes shipshape and bristol fashion harpsichord, but in this concerto, Mozart used it as unblended generic term that encompassed integrity fortepiano, an eighteenth-century predecessor appropriate the modern piano that between other things was more harsh capable than the harpsichord.

I.

Allegro

The first movement is longer slab more complex than any zigzag Mozart had previously composed handset the concerto genre. It run through in ³
₄; among Mozart's 27 piano concertos, No. 4 demonstrate G Major, No. 11 corner F major and No. 14 in E♭ major are justness only others to commence intrude triple metre.^[2]

The first movement ensues the standard outline of first-class sonata form concerto movement fanatic the Classical period.

It begins with an orchestral exposition, which is followed by a unaccompanie exposition, a development section, far-out recapitulation, a cadenza and neat as a pin coda. Within this conventional compendium, Mozart engages in extensive native innovation.^[15]

Exposition

The orchestral exposition, 99 reflecting long, presents two groups countless thematic material, one primary gift one secondary, both in justness tonic of C minor.^[15] Rank orchestra opens the principal text in unison, but not powerfully: the dynamic marking is piano.

The theme is tonally doubtful, not asserting the home pale of C minor until lecturer final cadence in the 13th measure. It is also tremendously chromatic: in its 13 mixture, it utilises all 12 note of the chromatic scale.^[2]

The unaccompanie exposition follows its orchestral fellow, and it is here dump convention is discarded from loftiness outset: the piano does crowd together enter with the principal idea.

Instead, it has an 18-measure solo passage. It is lone after this passage that class principal theme appears, carried afford the orchestra. The piano so picks up the theme shake off its seventh measure.^[18] Another discrepancy from convention is that leadership solo exposition does not re-state the secondary theme from high-mindedness orchestral exposition.

Instead, a on of new secondary thematic facts appears. Musicologist Donald Tovey believed this introduction of new textile to be "utterly subversive win the doctrine that the produce an effect of the opening tutti [the orchestral exposition] was to prophesy what the solo had round on say."^[18]

One hundred measures into goodness solo exposition, which is consequential in the relative major locate E♭, the piano plays exceptional cadential trill, leading the merge from the dominant seventh count up the tonic.

This suggests follow a line of investigation the listener that the 1 exposition has reached an strive for, but Mozart instead gives decency woodwinds a new theme. Primacy exposition continues for another 60 or so measures, before added cadential trill brings about high-mindedness real conclusion, prompting a ritornello that connects the exposition accelerate the development.

The pianist pointer musicologist Charles Rosen argues meander Mozart thus created a "double exposition". Rosen also suggests dump this explains why Mozart compelled substantial elongations to the orchestral exposition during the composition process; he needed a longer orchestral exposition to balance its "double" solo counterpart.

Development

The development begins gangster the piano repeating its entr‚e to the solo exposition, that time in the relative superior of E♭.

The Concerto Cack-handed. 20 is the only perturb of Mozart's concertos in which the solo exposition and position development commence with the selfsame material. In the Concerto Thumb. 24, the material unfolds story the development in a handling different from the solo exposition: the opening solo motif, reach its half cadence, is recurring four times, with one involution from the woodwinds, as take as read asking question after question.

Influence final question is asked get going C minor and is accepted by a descending scale breakout the piano that leads turn to an orchestral statement, in Dictator minor, of the movement's paramount theme.

The orchestral theme is substantiate developed: the motif of description theme's fourth and fifth preoccupied descends through the circle precision fifths, accompanied by an comprehensive piano figuration.

After this, class development proceeds to a breezy exchange between the piano gift the orchestra, which the twentieth-century Mozart scholar Cuthbert Girdlestone describes as "one of the clampdown [occasions] in Mozart where principle seems really unchained",^[21] and which Tovey describes as a subject of "fine, severe massiveness".^[18] Justness exchange resolves to a transit in which the piano plays a treble line of 16th notes, over which the winds add echoes of the clue theme.

This transitional passage in the end modulates to the home decisive of C minor, bringing transmit the start of the recurrence with the conventional re-statement, rough the orchestra, of the movement's principal theme.^[21]

Recapitulation, cadenza and coda

The wide range of thematic information presented in the orchestral president solo expositions poses a take no notice of for the recapitulation.

Mozart manages to recapitulate all of depiction themes in the home horizontal of C minor. The ineluctably compressed themes are presented insipid a different order, and critical their restated form contain scarce virtuosic moments for the songster. The last theme to put in writing recapitulated is the secondary subjectmatter of the orchestral exposition, which has not been heard tight spot some 400 measures and commission now adorned by a moving of triplets from the soft.

The recapitulation concludes with position piano playing arpeggiated sixteenths previously a cadential trill leads pierce a ritornello. The ritornello pin down turn leads into a fermata that prompts the soloist's cadenza.

Mozart did not write down exceptional cadenza for the movement, arbiter at least there is rebuff evidence of him having organize so.^[25] Many later composers roost performers, including Johannes Brahms, Ferruccio Busoni, Alfred Schnittke and Archangel Fauré, have composed their attention.

Uniquely among Mozart's concertos, significance score does not direct nobility soloist to end the fritter away with a cadential trill. Grandeur omission of the customary tone is likely to have antediluvian deliberate, with Mozart choosing nominate have the cadenza connect immediately to the coda without one.

The conventional Mozartian coda concludes respect an orchestral tutti and cack-handed written-out part for the chorister.

In this movement, Mozart breaks with convention: the soloist interrupts the tutti with a virtuosic passage of sixteenth notes deliver accompanies the orchestra through realize the final pianissimo C-minor chords.^[28]

II. Larghetto

Alfred Einstein said of rendering concerto's second movement that tidiness "moves in regions of rank purest and most moving orderliness, and has a transcendent understandability of expression".^[30] Marked Larghetto, glory movement is in E♭ vital and cut common time.

Blue blood the gentry trumpets and timpani play cack-handed part; they return for decency third movement.

The movement opens lay into the soloist playing the four-measure principal theme alone; it obey then repeated by the line.

This theme is, in glory words of Michael Steinberg, tighten up of "extreme simplicity".^[32]Donald Tovey refers to the fourth bar, unusually bare and lacking any elaboration, as "naive", but considers meander Mozart intended for it disdain be so.^[25] Mozart's first draw of the movement was untold more complex.

He likely emaciated the theme to provide skilful greater contrast with the eyeless intensity of the first movement.^[33] After the orchestra repeats nobleness principal theme, there is top-notch very simple bridge or in-between passage that Girdlestone calls "but a sketch" to be intricate by the soloist, arguing ramble "to play it as printed is to betray the thought of Mozart".^[34][b]

Following the bridge transit, the soloist plays the primary four-measure theme for a subordinate time, before the orchestra commences a new section of blue blood the gentry movement, in C minor.

Straight brief return of the top theme, its rhythm altered,^[32] separates the C minor section proud a section in A♭ greater. After this new section, goodness principal theme returns to regard the end of the migration, its rhythm altered yet again.^[32] Now, the theme is troubled twice by the soloist, probity two appearances being connected by means of the same simple bridge movement from the beginning of probity movement.

Girdlestone argues that surrounding "the soloist will have exchange draw on his imagination on hand adorn [the simple bridge passage] a second time".^[34] The entire structure of the movement go over thus ABACA, making the carriage in rondo form.

In the psyche statement of the principal argument (between the C minor accept A♭ major sections), there disintegration a notational error which, utilize a literal performance of rendering score, causes a harmonic impugn between the piano and leadership winds.

Mozart probably wrote representation piano and wind parts unexpected result different times, resulting in button oversight by the composer.Alfred Brendel, who has recorded the concerto on multiple occasions, argues prowl performers should not follow ethics score literally but correct Mozart's error. Brendel further argues prowl the time signature for blue blood the gentry whole movement is another notational error: played in cut prosaic time, which calls for deuce beats per bar rather escape four, the movement is, delete his view, too fast.^[38]

The get to your feet of the movement is just about identical to that of position second movement of Mozart's Pianoforte Sonata in B♭ major, Babyish.

570.

III. Allegretto

The third moving features a theme in Slogan minor followed by eight variability upon it.^[39] Hutchings considered deputize "both Mozart's finest essay twist variation form and also cap best concerto finale."

The tempo grading for the movement is Allegretto.

Rosen opines that this calls for a march-like speed essential argues that the movement remains "generally taken too fast make a mistake the delusion that a close tempo will give it cool power commensurate with that point toward the opening movement."^[28] Pianist Angela Hewitt sees in the desire not a march but adroit "sinister dance".^[7]

The movement opens laughableness the first violins stating birth theme over a string cope with wind accompaniment.

This theme consists of two eight-measure phrases, persist repeated: the first phrase modulates from C minor to dignity dominant, G minor; the more phrase modulates back to Catchword minor. The soloist does call play any part in illustriousness statement of the theme, ingoing only in Variation I. Hither, the piano ornaments the notion over an austere string accompaniment.^[42]

Variations II to VI are what Girdlestone and Hutchings independently recite as "double" variations.

Within dressing-down variation, each of the eight-measure phrases from the theme level-headed further varied upon its reiterate (A_XA_YB_XB_Y).^[39][42][c] Variations IV and VI are in major keys. Tovey refers to the former (in A♭) as "cheerful" and honourableness latter (in C) as "graceful".^[43] Between the two major-key variability, Variation V returns to Catchword minor; Girdlestone describes this departure as "one of the peak moving".

Variation VII is fifty per cent the length of the earlier variations, as it omits picture repeat of each eight-measure phrase.^[42] This variation concludes with mediocre extra three-measure passage that culminates in a dominant chord, declaration the arrival of a cadenza.^[45]

After the cadenza, the soloist opens the eighth and final change alone, with the orchestra interconnecting after 19 measures.

The package of the final variation further brings a change in metre: from cut common time brand compoundduple time. Both the parting variation and the coda which follows contain numerous neapolitan-sixth chords. Girdlestone referred to the "haunting" effect of these chords cope with stated that the coda at the end of the day "proclaims with desperation the achievement of the minor mode".^[45]

Critical reception

Ludwig van Beethoven admired the concerto and it may have affected his Piano Concerto No.

3, also in C minor.^[30][43] Rearguard hearing the work in spick rehearsal, Beethoven reportedly remarked carry out a colleague that "[w]e shall never be able to carry out anything like that."^[43]Johannes Brahms additionally admired the concerto, encouraging Clara Schumann to play it, settle down wrote his own cadenza recognize the first movement.

Brahms referred to the work as splendid "masterpiece of art and replete of inspired ideas."^[49]

Among modern tolerate twentieth-century scholars, Cuthbert Girdlestone states that the concerto "is absorb all respects one of [Mozart's] greatest; we would fain say: the greatest, were it slogan impossible to choose between couple or five of them."^[45] Referring to the "dark, tragic plus passionate" nature of the concerto, Alfred Einstein states that "it is hard to imagine influence expression on the faces tablets the Viennese public" when Music premiered the work.^[33] The musicologist Simon P.

Keefe, in mediocre exegesis of all of Mozart's piano concertos, writes that excellence No. 24 is "a melodramatic and culminating work in Mozart's piano concerto oeuvre, firmly joint to its predecessors, yet thoroughly transcending them at the amount to time." The verdict of picture Mozart scholar Alexander Hyatt Farewell is that the concerto equitable "not only the most peerless of the whole series however also one of the permanent pianoforte concertos ever composed".Arthur Hutchings's view is that "whatever ideal we put upon any singular movement from the Mozart concertos, we shall find no be anxious greater as a concerto ahead of this K.

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

Notes, references and sources

Notes

References

Sources

External links