Piano Concerto No. 22 (Mozart)

The 22 Piano Concerto in E flat major, K. 482 is a piano concerto by Wolfgang Amadeus Mozart. According to a different census is the 16th piano concerto by the composer.

Formation

The 22 Piano Concerto was written in winter 1785 in Vienna. Since then, the emergence coincides The Marriage of Figaro with the composition of the opera. The Piano Concerto was performed at a concert in December 1785 in Vienna, between the parts of an oratorio by Dittersdorf, premiered. Also, this concerto was written, like all the great Viennese concerts, for the use of own concerts. The 22 Piano Concerto is one of the longest concert of Mozart's works, a performance lasts about 35 minutes.

About the Music

1st movement: Allegro

The orchestra begins with a fanfare-like phrase, which responds to the horn with a descending, wistful melody. The transition to the second theme is done in a long reconciliation, which takes place in four sections. The second theme is a simple, delicate melody. Only after 76 cycles, the solo piano resumes with its own entrance is heard, before it plays around the recurring fanfare theme. The following is a reconciliation after B-flat minor, which ends in a merely apparent third topic, but is forwarded and leads to the actual third topic. This is introduced by the solo piano, which omits the second theme. The implementation is simple and designed to remain relatively undifferentiated for Mozart's circumstances. Some phrases are reminiscent of the early 19th Symphony, K. 132 The recapitulation brings new embellishments of the main theme by the Solokalvier. Now also the second theme is taken from the piano. It follows a long solo cadenza in which the complete thematic material is touched. A fiery orchestral ritornello finished the sentence with some brilliant chords.

2nd movement: Andante

The Andante combines rondo form variation movement. Lamentation c minor theme is supported by the strings intoned. The solo piano increases with the first variation in the set by plays around the theme. There follows an extended interlude of orchestra and woodwinds, in which the piano completely silent. It returns with the livelier second variation. Now piano and orchestra unite for common action. A second interlude in C Major, unusually, brings again the piano for a long time to be silent. This results in mind that Mozart long moves in the world of symphonic concert. A Forte beat of the orchestra begins the dramatic, again in C Minor held, third variation. It is the longest variation of the sentence in which it always comes back to sounding interjections end of the solo piano. This is followed by an extended coda which anknüpft content to both the final variation, as well as to the first interlude. An ascending c minor scale of the piano ends the poignant and profound sentence.

3rd movement: Allegro

The final rondo in 6/8-measure begins with a slow theme in the piano. As usual, the orchestra takes this issue and formulates it. A reconciliation which leads to the first couplet, contains a song-like, simple and catchy melody of the piano. Also, although the first couplet is quite fast, but acts at no time omitted. The whole movement seems a bit inhibited in the joy of what could be due to the previous one, in-depth C minor variations. After a repetition of the refrain, the second couplet follows. Here, the Rondo is interrupted by an Andantino episode. This second couplet acts as a nearly independent set in which in the winds instead of oboes clarinets occur for the first time. Such an interruption of a quick final rondo, was previously done only in Mozart's Piano Concerto No. 9, K. 271. Then follow rules meet the repetitions of the chorus and the first couplet. A short solo cadenza contains no major technical difficulties. It follows the coda, which gives the set an optimistic conclusion.

Status

The 22 Piano Concerto K. 482 part, like its two predecessors KV 466 and KV 467, to the great symphonic concerts of Mozart. A great commonality it has with its two subsequent piano concertos K. 488 and K. 491, since it is the only Mozart's piano concertos, in which clarinets are prescribed. These three concerts are therefore often referred to as the clarinet concertos. Also the rest of Orchesterappart boasts a spacious and writes, and in the concerts KV 451 and KV 467 trumpets and drums before. What is new is the increasing role of the horns which have the concertante action part. So the 22 Piano Concerto holds especially innovations in the field of instrumentation mechanism, it is otherwise made ​​relatively regularly. The Mozart scholar Alfred Einstein looked at this concert even as a step backwards, as it experiences a strong thematic line with earlier works in the outer movements. Thus the main theorem quoted almost a few passages from the early works of Mozart's 19th Symphony, K. 132 belonging to the finale contains the same idea as the early 9th Piano Concerto K. 271: Loss of rondo form by a slow intermediate block.