Piano Concerto No. 24 (Mozart)
The 24th Piano Concerto in C minor, K. 491 is a piano concerto by Wolfgang Amadeus Mozart. According to a different count, in which only the pure and completely derived from Mozart works are observed, it is the 18th piano concerto by the composer.
Formation
The 24th Piano Concerto was completed in the first half of February 1786 in Vienna. Like other major incurred in Vienna piano concertos, it was for his own concert performances of Mozart. The autograph includes an unusual number of changes and corrections, which suggests that this concert was exposed to a longer process of creation, as most of the works of Mozart for Mozart. Also, this concerto was written in parallel with the Marriage of Figaro, at a time when the opera was almost finished already and has been rehearsed in parts. Presumably, the piano concerto was premiered on April 7 of the same year.
About the Music
Occupation
Solo piano, flute, 2 clarinets, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
1st movement: Allegro
The opening Allegro is, in addition to the main clauses of the 11th Piano Concerto K. 413 and K. 449 Piano Concerto No. 14, the only law of concerts of Mozart, which is listed on the 3/4-time. The argument advanced by the strings in unison main theme clearly indicates the theme in Beethoven's later C minor concerto. It is dramatic and almost menacing character. It is from the orchestral tutti, supported by thumping drumbeats, repeatedly. The woodwinds play a major role in the formulation of thought. A second thought is of a more peaceful character, but without coming to rest. The solo exposition of the piano begins with an independent third theme, as in several concerts before. Unusually, however, is the development of thought in the fourth and fifth solo piano, all of which can be regarded as independent topics. The main theme is quoted only now and then. Even in the exposition follows a by implementing a similar part which processes the main idea. This appeared in the reprise later, not again. The exposition ends with an E-flat major variant of the main theme. This is followed by the development section, which mainly processes the first and third issue. In the recapitulation, the themes reappear in a different order. First, the main theme is repeated, the fifth and fourth Teman close in before the second theme completes the consequently totally free designed Repris. The third issue, which was in the Outstanding preferred is completely absent here. It appears this in the virtuosic and extended solo cadenza again, which is initiated by a dramatic climax in the orchestra. A dramatic Schlussritornell leads to the coda, which is played by the piano and lets finish the sentence under threatening throbbing chords pianissimo. The musical Conflict resolution is not reached as in d- minor Concerto and was postponed to the following sentences.
2nd movement: Larghetto
The middle movement is written in a simple rondo form in E Flat Major. The structure is reminiscent of the middle movement of the 15th Klaiverkonzertes KV 450 The solo piano introduces the simple, song-like refrain topic which is answered quickly by the orchestra. The first couplet turns into a moderately - dramatic gesture of the woodwinds to C minor. In both couplets solo piano and orchestra concerts together against the woodwinds. The second couplet, which is followed by an abbreviated repetition of the chorus, is in A Flat Major and creates an almost cheerful character. After a short transition to a longer repetition of the chorus joins. A brief coda ends the simple sentence.
3rd movement: Allegretto
The finale is a set of variations Represents the defiant combative c minor theme is accentuated by the timpani. The first variation consists of figured embellishments of the theme by the Solokalvier, backed by the strings. The woodwind determine the second variation. In the repetition of the piano virtuoso embellishments answers. The following third variation consists of full, march-like piano chords. The orchestra responds with dramatic interjections in Forte. This represents a dramatic climax of the movement represents the fourth variation is now available in A-flat major. It differs greatly from the unusual variation subject and has at times the character of a serene and pastoral interludes. It follows the extended fifth variation, in which the subject is embellished extensive one. In the repetitions used Mozart motifs from the march-like third variation. It follows the second major variation, which is also far away from the subject. So both major variations have intermezzo -like character. The following seventh variation, however, adheres very strongly to the subject, it does directly quoted in the opening bars. The transition to the eighth and final variation is by an input of solo piano. The subsequently variation is in 6/8-measure and accelerates the musical events. A virtuoso coda follows on directly and performs the work with a thunderous upward passage to a furious finish in C minor.
Status
The 24th Piano Concerto is next to the 20th Piano Concerto K. 466, the only piano concerto by Mozart, which is in a minor key. Both works are piano concertos of the utmost intensity of the drama. Precisely herein, the concert significantly to the creation of Beethoven out, especially on the 3rd Piano Concerto, also in C minor. This is similar to Mozart's 24th Piano Concerto even in the subject. The increased use of chromaticism, shapes the musical character of unfathomable depth, suffering and tragedy. Mozart has finally been overcome with this c - minor concerto, the obligation of the music entertainment ideals and found to freedom of the individual artist. It is noteworthy that this ideal Mozart ever realized just in time extremely popular with the public, and thus demonstrated his sovereignty over the social obligation of art. In this way, the Concerto K. 491 part, just like the D minor KV 466 factory, one of the pioneers of future musical eras.
The 24th Piano Concerto is one of the piano concertos, which are referred to as symphonic concerts of Mozart. A great commonality it has with the piano concertos K. 482 and K. 488, 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. The rest Orchesterappart is very large scale and writes, and in the concerts KV 451 and KV 467 trumpets and drums before. Since in this concert oboes and clarinets are prescribed, it is even one of the largest occupations in Mozart's oeuvre in general. Only a few works such as the Haffner Symphony or Paris have a similar instrumentation. Precisely herein is a big contrast to the previous, chamber music orchestrated piano concerto, K. 488 Piano Concerto is a new peak of Fort spin -drying technique, which occurs more and more in place of the period formation. Also the concert is characterized by Johann Sebastian Bach back cross, dense polyphonic writing. As in d- minor concerto, a large-scale content links of rates can be determined with each other here. The main set ends, unusually, in piano, which suggests that the solution of the conflicts sparked musical will move to the other sets of the concert. This approach of an artistic overall concept will prevail in the following musical eras to perfection. Its most unusual feature are the five themes, which are placed next to each other in the first sentence. Such thematic abundance are found in no other set of Mozart. The final movement again shows Mozart's long-established superiority to common principles of form. In this concert, he connects the large rondo form with the variation form.