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Digital Edition. Digital Archive. Gramophone's expert reviews easier than ever before. Whether you want to see what we think of today's latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Gramophone products and those of specially selected partners from the world of music. Home Composers Artists Features Blogs. Latest issue Podcast Apple Music. Farewell to my Silberman Clavichord in a Rondo. This is indicated, he says, by its surface simplicity and comparatively smaller demands on technique.

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This theory is also supported by the fact that the concerto came at a time when Mozart was trying to gain favor in high society. However, musicologist John Irving disagrees. Perhaps he was just pressed for time when he wrote it, or perhaps he wanted the lighter scoring for some other reason. Scored for two oboes, two flutes, two horns, and strings, the B-flat Piano Concerto has a conventional form, with three movements following the fast-slow-fast pattern.

Sometimes he even improvised them during his performances. The overall temperament of this movement is cheerful, evocative of the Turkish elements in the Finale to the A Major Violin Concerto. Mozart completed the next concerto we will hear tonight in The Piano Concerto No. As such, it is one of the most technically demanding of his concertos. But of course it is quite possible that the copyist may have misread a sharp for a flat in the score, or something of the kind, for if so it cannot be right.


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I shall get to the bottom of it all when I see the original score. Mozart was at the height of his career and as incredibly busy performing and composing during the months leading up to the composition of K.

WOLFGANG AMADÈ MOZART: Piano Concerto No. 22 in E-flat major, K. 482

He has had a large fortepiano pedal made, which stands under the instrument and is about two feel longer and extremely heavy. However, it was so difficult to move, as Leopold describes, that it seems logical that it would have also been used for other things. Piano Concerto K. The program advertised the new concerto, some improvisations for which Mozart was famous , and noted that they would be performed using the large pedal.

The second movement is simply designed; there are no excessive frills, leaving Mozart ample room to improvise during the performance. It is brilliant and energetic, and yet filled with subtleties. The high regard in which we hold his compositional skill is in big part due to the startling versatility of his concertos. Emperor Joseph II even formed his own group in consisting of eight players instead of the usual six.

This relatively small ensemble lent itself well to the serenade and the divertimento, which are traditionally lighter works intended primarily for easy entertainment. Serenades were particularly sought after in Salzburg.

Piano Concerto No. 21 (Mozart)

Mozart wrote his first at the age of thirteen, and followed it with many more. After moving to Vienna around , he wrote far fewer works of this type. It is weightier, and more serious.

Like most of the piece, it does not conform to our expectations for a serenade. While most finales in the genre display and almost effervescent character, this one is moody, in keeping with the preceding movements. This serenade is filled with dramatic contrasts throughout. The lyric quality is always overtaken by gloomy outbursts. Mozart - Piano Concerto No.

Piano Concerto No. Mozart wrote his Piano Concerto No. He dedicated it to Countess Antonia Lutzow, who was studying with him at the time and who was quite influential in provincial Salzburg.


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Nannerl then passed it on to several of her own students to work on. Mozart finally performed it himself the following year in Munich. Additionally, the recapitulation is an exact replica of the first section, rendering the body of music to memorize smaller. However, this did not always help everyone. He took the first movement prestissimo, the Andante allegro and the Rondo, believe it or not, prestissimo.

He generally played the bass differently from the way it was written, inventing now and then quite another harmony and even melody. Nothing else is possible at that pace, for the eyes cannot see the music nor the hands perform it…. We may think the account he gives his father shows a less kind side of Mozart, but one can no doubt empathize with his impatience!

Mozart wrote his own cadenzas for this concerto. In fact, he wrote three cadenzas, each with a different level of difficulty, further supporting the idea that the piece was meant for teaching. Several of these cadenzas are still available to us. The first movement is marked Allegro aperto, a marking shared only with the Sixth Piano Concerto, and indicating that it should be played more broadly and statelier than allegro might imply. The second movement, in keeping with traditional concerto form, is an Andante and is presented in full sonata form.

The work overall features a lively and energetic character and displays clever use of form. It is scored for two oboes, two horns, strings, and solo piano. Nearly a decade later, in , Mozart finished his Piano Concerto No. This piece was written in haste, as evidenced by the messiness of his surviving sketches and all their erasures and changes. Although haste was not uncommon for Mozart at this time in his life, here he seems to have been in so much hurry that the autograph does not even contain a fully realized solo part. In this concerto he broke pattern, though, finishing the orchestra part completely before adding the solo part, which is almost illegible in parts of the facsimile.

It seems logical that Mozart must have been under an extremely stressful deadline and had to produce parts for the orchestra before considering his own.

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This inevitably led to extensive revisions later on. The Larghetto acts as a balm following the tempestuous first movement. For example, listen closely to the many tiny rhythmic features that are changed on repetition and which try to hide behind ornamental figurations. The theme is necessarily simple, but displays some slightly ominous undertones, which increase in presence as the movement proceeds.

It uses an unusually large wind section, and is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings, and solo piano.

Sonata for Piano in C minor

This is the largest orchestra Mozart ever called for in his concerti. In the same year, the piece was published in Vienna together with the Piano Sonata in C minor under the collective designation "Op. The Fantasia is one of very few works Mozart composed in C minor during his years in Vienna.

Because of the formal freedom traditionally associated with such pieces, the composer was able to produce in the Fantasia a notably expressive example of keyboard music; in contrast to the prescriptions of traditional forms, the Fantasia instead draws upon Mozart's intuition and supreme sensitivity as a composer and pianist.

The opening theme makes it clear that this is no unfolding sonata form: although the melodic material is symmetrical, the harmony avoids the relationships common to the first themes of sonata movements. The unusual changes in harmony blur the primacy of the tonic and wander in such a way that later resolution seems impossible. The dominant does arrive during a passage of repeated, right-hand chords, but this has little effect since the tonic was never firmly established.


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This material returns at the end, but the result is symmetry rather than resolution. Each change of tempo signals the introduction of new material. The Adagio departs from C minor immediately and ventures as far away as B minor over repeated figures in the left hand. The Allegro begins with a wobbling idea in the right hand that focuses on D major, eventually giving way to an area of continuous modulation.

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