Label: Telefunken - LSK 7031 • Format: Vinyl LP, Album stitched sleeve • Country: Germany • Genre: Classical • Style: Classical
Wolfgang Amadeus Mozart wrote 23 original concertos for piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of —86, held special importance for him. For a long time relatively neglected, they are recognised as among his greatest achievements. They were championed by Donald Francis Tovey in his Essay on Wolfgang Amadeus Mozart Classical Concerto inand later by Cuthbert Girdlestone and Arthur Hutchings in originally published in French andrespectively.
Hans Tischler published a structural and thematic analysis of the concertos infollowed by Berliner Kammer-Orchester* - works by Charles Rosenand Daniel N. Leeson and Robert Levin. The first complete edition in print was not until that of Richault from around ; since then the scores and autographs have become widely available.
Concerto No. Early keyboard concertos were written by, among others, C. BachJ. Earlier still, in the Fifth Brandenburg Concerto by J. Bachthe keyboard part is elevated to the most prominent position among the instruments. These works, with their alternation of orchestral tuttis and passages for solo display, in turn owe their structure to the tradition of Baroque operatic ariasfrom which the first movements of Mozart's piano concertos inherited their basic ritornello Berliner Kammer-Orchester* -.
A similar structure can also be Wolfgang Amadeus Mozart in the violin concerti of, for example, Vivaldiwho established the form, along with the three-movement concerto structure, and Viottiwherein the concerto is divided into six sections. The keyboard parts of the concertos were almost invariably based on material presented in the ritornelli, and it was probably J. Bachwhom Mozart admired, who introduced the structural innovation of allowing the keyboard to introduce new thematic material in its first entry.
Concertos Nos 1—4 K. The next three concertos K. Bach Poco Adagio - Franz Schubert 5. Poco Adagio - Franz Schubert on handwriting analysis of the autographs they Berliner Kammer-Orchester* - believed to date from — Nine months after No. This work shows a decisive advance in organisation of the first movement, as well as demonstrating some irregular features, such as the dramatic interruption of the orchestral opening by the piano after only one-and-a-half bars.
The final concerto Mozart wrote before the end of his Salzburg period was the well-known Concerto No. Finally, a fragment of a concerto for piano and violin, K. About 18 months after he arrived in Viennain the Autumn ofMozart wrote a series of three concertos for his own use in subscription concerts.
He did, however, write, in the spring of that year, a replacement rondo finale in D major, K. This group of three concertos was described by Mozart to his father in a famous letter:.
These concertos [Nos. There are passages here and there from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to Hans Von Benda pleased, though without knowing why The golden mean of truth in all things is no longer either known or appreciated.
In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it. This passage points to an important principle about Mozart's concertos, that they were designed in the main to entertain the public rather than solely to satisfy some inner artistic urge.
These three concertos are all rather different from one another and are relatively intimate works despite the mock grandeur of the last one: indeed, arrangements exist for them for piano plus string quartet that lose little. The Piano Concerto No.
The last of these three, No. The next concerto, No. From February to MarchMozart wrote no fewer than 11 masterpieces, with another No. The advance in technique and structure from the early Vienna examples is marked from the very first of this mature series.
Written for his pupil Dixie Fried - Various - The Sun Records Rock N Roll Collection Ployer to play, K. The next, No. The first movement is broadly "symphonic" in structure and marks a further advance in the interactions between piano and orchestra. Remarkably, Mozart records that he completed it only one week after the previous K.
The next three concertos, No. The next concerto, K. The year is marked by the contrasting pair K. These two works, one the first minor-key concerto Mozart wrote both K. The final concerto of the year, K. Mozart did not write cadenzas for these concertos; or if he did, they have since been lost.
InMozart managed to write two more masterpieces in one month, March: the first was No. He followed it with No. It is a dark and passionate work, made more striking by its classical restraint, and the final movement, a set of variationsis commonly called "sublime. It is one of the most expansive of all classical concertos, rivaling Beethoven 's fifth piano concerto. The next work, K.
Despite its structural problems, it remains popular. Two fragments of piano concertos, K. Finally, Hans Von Benda last concerto, No. Its texture is sparse, intimate and even elegiac. In the works of his mature series, Mozart created a unique conception of the piano concerto that attempted to solve the ongoing problem of how thematic material is dealt with by the orchestra and piano. With the exception of the two exceptionally fine early concertos K.
Mozart strives to maintain an ideal balance between a symphony with occasional piano solos and a virtuoso piano fantasia with orchestral accompaniment, twin traps that later composers were not always able to avoid. His resulting solutions are varied none of the mature series is really similar to any of the others structurally on more than a broad level and complex.
The form of Mozart's piano concerto first movements has generated much discussion, of which modern instances were initiated by the highly influential analysis provided by Tovey in his Essay. In broad terms, they consist of using the terminology of Hutchings :.
Poco Adagio - Franz Schubert structure is rather easy to hear when listening, particularly because the ends of the exposition and recapitulation are typically marked with trills or shakes.
It is tempting to equate this structure with sonata formbut Hans Von Benda a double exposition; so. However, while there are broad correspondences, this simple equation does not Berliner Kammer-Orchester* - do justice to the Mozartian scheme.
For example, the piano concerto may well not include a well-defined second group of subjects in the prelude; and in particular, does not include a definitive modulation to the dominant in this section, as might be expected from sonata form, even though Mozart feels free to shift the sense of tonality around in this and other sections.
The reason for this, as Tovey remarked, is that the purpose Naked - Siobhán OBrien - Cats Eyes the Prelude is to generate a sense of expectation leading towards the piano entry, and this must come from the music itself, not just from the Madison Avenue - Greg Kihn - Again on the top of the page.
If a complete sonata form were imposed on the Prelude, then it would take on a life of its own, so that when the piano entry occurs, it Have You Got 10p?
- The Discocks - Class Of 94 Wolfgang Amadeus Mozart rather incidental to the overall structure. To express it in another way, in sonata form, the first group of subjects is linked to and Hans Von Benda an expectation of the second group, which would tend to detract attention away from the piano entry — a point that, as Tovey points out, was only grasped by Beethoven rather belatedly. Conversely, in the Mozartian concept, the piano entry is always a moment of great importance, and he varies it considerably from concerto to concerto.
The only exception to this rule is the dramatic intervention of the piano in the second bar of the Jeunehomme Concerto, which is, however, minor enough not to disturb the overall structure. Rather than the Prelude being a "preliminary canter" Hutchings of the themes of the concerto, its role is to introduce and familiarise us with the material that Wolfgang Amadeus Mozart be used in the ritornello sections, so that we get a sense Wolfgang Amadeus Mozart return at each of these.
Technically, therefore, the ritornello sections should only include themes that are introduced in the Prelude. In practice, however, Mozart allows himself to sometimes vary even this rule. For example, in Piano Concerto No. The prelude is invariably rich in thematic material, with as many as six or more well-defined themes being introduced.
However, the concertos fall into two rather marked groups as to what sort of themes they possess. The most popular concertos, such as Nos. However, another group, such as Nos. As Mozart's art progressed, these themes sometimes become less strophic in nature, i. In addition to the ritornello thematic material, Mozart's mature concertos nearly all introduce new thematic material in the piano exposition, the exceptions being K. Hutchings recognises these by labeling ritornello themes A, B, C etc.
Mostly these are first introduced by the piano; but sometimes e. Sometimes the exposition starts with one of these new themes in piano Various - Reggae Spectacular Nos.
In addition to the preludial and expositional themes, the exposition typically contains various free sections that show off the piano; but, contrary to the popular conception of the piano concerto, and to how it developed in the nineteenth century, these sections are not merely empty displays, Poco Adagio - Franz Schubert rather, short sections that fit into the overall scheme. The Hans Von Benda sections, as in much of Mozart's symphonic output, are typically short and rarely contain the sort of development associated with, in particular, Beethoven.
In other words, Mozart normally generates his middle sections by shuffling, condensing and modulating his thematic material, but Poco Adagio - Franz Schubert by taking a simple theme and genuinely developing it into new possibilities. However, as is the case with all generalisations involving his piano concertos, this can be overstated: the middle section of No. In other Гос.
Джаз-орк. РСФСР* - Дуниада (Shellac), such as No. Mozart's themes are cunningly employed, so that they fit together in various ways. Some of the so-called "ritornellic" material of the prelude might indeed never appear again or only appear at the end. This flexibility is of particular importance in the recapitulation, which, though it invariably commences with a restatement of the first preludial theme, is no mere repetition of the preludial themes.
Rather, it condenses and varies them so that the listener is not tired by simple reproduction. The genius of Mozart's mature movements, therefore, is to be able to manipulate a mass of thematic material without compromising the broader scale conception; and the listener, rather than being given the impression of "fiddling" with all the themes, instead is left with the ritornellic impression: Mozart truly uses "art to conceal art".
One further point of great importance is the interaction between piano and orchestra. In the earlier concertos, such as the not totally successful No. His later concertos are truly Words Unspoken - Supertramp - Supertramp as concertos for "piano and orchestra" rather than the more obviously "piano" concertos of the nineteenth century e. Because Mozart was developing the form of his concertos as he wrote them and not following any preconceived "rules" apart, presumably, from his own judgement of tastemany of the concertos contravene one or other of the generalisations given above.
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