Piano Concerto No. 10 (Mozart)
The 10th Piano Concerto in E flat major, K. 365, is a piano concerto for two pianos by Wolfgang Amadeus Mozart. In a different count, in which only the pure Mozart's piano concertos are taken into account, it will not be counted.
Formation
The 10th Piano Concerto was probably at the beginning of the year, 1779. Mozart processed here the impressions of the just-concluded trip to Mannheim and Paris. Mozart wrote the work probably for himself and his sister Maria Anna for their own use.
About the Music
1st movement: Allegro
The main clause begins with a unison motive in the strings, resulting in the first theme developed. A more restrained second theme, in which appear the first bassoon separately, follows and will not be included later by the solo pianos. Then the solo exposition of the two pianos begins with its own third topic, a procedure, which will be repeated later in some Mozart piano concertos often. Both pianos then take on the main theme, the second piano melody plays around the rich. The implementation takes on two small motifs from the main theme, but remains in the main fantasy implementation. Unusually, emerged the second theme, which had been published only in the orchestra at the end of the implementation in the solo pianos on. The recapitulation moves the main theme first to E flat minor and brings it only in abbreviated form. An extremely virtuosic transition leads to the equally highly demanding solo cadenza in which the two soloists vying with each other. A Schlussritornell, which is taken from the exposure, finished the sentence with joyful E flat major chords.
2nd movement: Andante
The middle movement is marked by the intimate dialogue between the two pianos and the exceptionally mitkonzertierenden woodwinds. The oboe intones intimate singing to the accompaniment of strings. The solo pianos take the idea and develop it in a dialogic manner. Some striking dominant seventh of the first piano lead to a small break, after which unfolds the singing timidly new. Now the oboe in concert with the solo pianos. It follows a somewhat bewegterer central part which, however, maintains the said first duct. After a few fast runs unfolds again an intimate, deep gehendens subject in the first piano, which is accompanied by the second piano and performs again with the oboe. The strings mention the greatest time of the middle part. Also, the repetition of the first part begins only in the pianos, but remains very close to the original. In the pianos with the oboe dialogue, however, now be still richer embellishments before the poignant phrase piano fades away.
3rd movement: Rondo, allegro
The final Rondo begins with a hilarious theme in the strings. The solo piano take on the chorus theme and expand it. Since both soloists repeat the topics these typically last longer than with Mozart usual. The first couplet substantially retains the characteristic style of the chorus and leads quickly back to the chorus. The second couplet is virtuosic and dramatic effect. The soloists submit to the moving thoughts that often briefly turning inward minor mutually. The repetition of the refrain is subsequently slightly modified and shortened. Also, the first couplet appears in solo reduced manner. A virtuoso solo cadenza is unusually high demands on the soloist. With the hilarious chorus, the concert ends with joy and optimism.
Status
The 10th Piano Concerto is whether his conception for two pianos an exception in the series of Mozart 's piano concerts; In many ways it is difficult to compare with the other plants of the genus therefore. The 7th Piano Concerto for three pianos, the only other concert for more than a piano, it is clearly superior to maturity and creative force, however. The later date of origin and personal growth through experiences like the unfortunate trip to Paris are reasons for this. Even Mozart had in this work no consideration for limited capabilities of the dedicatee take as 242 and 8 Piano Concerto K. 246 was the case in the 7th Piano Concerto KV, since he conceived the work for himself and his sister. The piano writing is accordingly much more demanding and can be at most the 9th Piano Concerto, which was about a year earlier, compare. The work represents an advance in the orchestra, as Mozart prescribes two bassoons here. It was only in the 15th Piano Concerto K. 450 Mozart wrote the woodwind then always obligatory before. The subject matter is varied and combined with an innovative and great structure. So is the main clause, for example, already rather a large orchestral exposition as a refrain of the early concerts before. The middle movement is distinguished from, as in the previous 9 Piano Concerto, for his great sense of depth and grandeur. This has been clear to the upcoming, big concerts of Mozart.