Piano Concerto No. 27 (Mozart)
The 27th Piano Concerto in B flat major, K. 595, the last piano concerto by Wolfgang Amadeus Mozart. According to a different count, in which only the pure and entirely derived from Mozart 's piano concertos to be considered is the 21st piano concerto by the composer.
Formation
The last piano concerto Mozart was born at the beginning of 1791, the last year of life of Mozart. The life of the composer continued to deteriorate and failures shaped this year. It was a time of rising poverty and heaped personal setbacks. Was written the last piano concerto in parallel with the Magic Flute, Mozart's penultimate opera, and most significant.
About the Music
1st movement: Allegro moderato
The main clause begins with a lyrical theme, which is extremely unusual for the head sets in Mozart's piano concertos. A moody character depends on the B- flat major theme that is presented by the orchestra. Here, the poignant song unfolds to be weighed accompaniment in the lower strings and is briefly interrupted by Unisonoeinwürfen. Unusually quickly closes after 16 bars already on the second issue. A third theme follows in character like what Mozart had already designed in some previous concerts so. A long trailer with a detailed and lyrical internal coda ends the orchestral exposition. The solo piano sets then, without a private entrance with the ornate singing the first theme. A reconciliation to the second theme turns to the minor and brings new thematic material. The implementation of this set is highly remarkable. No concerto Mozart brings so many and sometimes unusual modulations in a confined space. The onset in F major implementation has already arrived after nine bars in B minor and then touches C major, C minor, E-flat, E-flat minor, C flat major, A flat major, F minor, G minor. By sequencing and enharmonic changes eventually in B flat major is reached. The processing of the thematic material here is very witty and profound. He acts both glorified, and tender - melancholy, which is a characteristic of the whole concert. The following is a relatively rule conformity recapitulation. In the postscript a striking use of the bassoon, followed by a harmonic twist that already has done Chopin. The detailed cadenza processed the main theme brilliantly. In the coda, unusually, comes with the Solokalvier to speak. With a poignant turn of unusual movement ends in mezzo piano.
2nd movement: Larghetto
The Larghetto is one of the inmost and most poignant middle movements of Mozart dar. The song-like set picks held before the sound world of the Magic Flute. The solo piano introduces a wistful melody that is immediately absorbed by the orchestra. The constant interplay between piano and orchestra, this sublime vocals developed. A sudden dramatic turn after minor leads to a shattering climax of profound emotional dimension. From this developed the piano in a second part of the sentence a new simple song melody. As in the first movement is followed by a strong modulating part which leads to the third part of the sentence. This is essentially a repetition of the first part dar. However, some motifs experienced significant extensions. The most striking of the dramatic climax will be taken up and expanded. Here now also takes over the piano, the plaintive motif of the orchestra. The coda is followed directly and terminates the poignant sentence with some simple circuit turns that are carried forward jointly by solo piano and orchestra.
3rd movement: Rondo, Allegro moderato
The chorus theme of Mozart final rondo used shortly for the spring song longing for the springs ( Come, dear May, and do ). The dance is characterized 6/8-Takt-Melodie despite her cheerful basically character of a great longing. It is essentially already the thematic material is, Mozart bypasses very economical with here. Also in this Rondo is the refrain of two topics. The second, which is similar to the character of the first, is also presented shortly thereafter by the piano. The reconciliation for the first couplet contains a bogus theme that but actually belongs to the main theme. The first couplet turns the dance-like melody briefly as a minor and ends with a virtuoso solo entrance of the piano. Again Mozart mixed up here rondo with sonata form. Instead of a second couplets followed by an implementation, which is quickly interrupted by another, extremely virtuosic input. It follows the repetition of the chorus, leads from which a new transition to the repetition of couplets. A special feature of the set is the unusual position of the solo cadenza, after almost a quarter of the entire finale follows. It is created extremely virtuosic and spacious. This is followed by the last repetition of the chorus, and an unusually long coda. A strong Unisonolauf the orchestra ended the concert with some optimistic chords.
Status
The 27th Piano Concerto is in some ways the most mature work of Mozart in this genus dar. From the cast forth would consider it a chamber music orchestrated piano concertos, like for example the Concerto K. 449 Formally, the concert rather early works before the 13th piano concerto down. The variety of topics is limited and the solo part far less virtuosic and embellished than in some previous works. Also, Mozart now holds back with structural innovations. Nevertheless, the last work of Mozart in this genre contains peculiarities and innovations that prove that Mozart was on the lookout for new design options until the end. So the piano resumes unusually, even after the cadenza in the first movement nor their say. The implementation of the main clause is marked by an unprecedented density modulations and an extremely witty processing of the topic. In the third movement Mozart combines unprecedented way lyrical cantabile with the rondo form and economical thematic funds. Also located in this work a similar overall artistic conception before, such as in the D minor concerto, K. 466 So already the header record contains the material of the second theme of the middle movement. This is a concept that points to the future and is already perfected by Beethoven on. The particular maturity and exceptional position of the work is, however, of the content, nature. A gentle melancholy - train is over the entire plant, although this is usually quoted in the major. In this piano concerto meets the designation " smile with tears " by Christoph Rueger, for some profound points in Mozart's music that alludes to an inner dimension of music. A floating metric in the complete work contributes to this impression. Likewise, the predominantly lyrical themes, already the main theme of the first movement is unusually lyrical nature. The erhabende song of Larghettos increases the stirring vocals of love and longing in transfigured intimacy. An issue that also receives the final Rondo, as it sings of the longing for the spring. The main theme is the Meldodie composed shortly after the song longing for the springs KV 596 Represents the entire work if this longing topic has strongly in the future era of Romanticism.