Piano Concerto No. 13 (Mozart)

The 13th Piano Concerto in C major, K. 415, is a piano concerto by Wolfgang Amadeus Mozart. In the census of pure Mozart's piano concertos it is his seventh piano concerto.

Formation

The concert was in conjunction with the 11th Piano Concerto K. 413 and K. 414 Piano Concerto 12 in the winter of 1782 /83. These are the first incurred in Vienna concerts of Mozart. He wrote it for his own concert performances, which he gave in Vienna. On December 28, 1782, he wrote to his father about the concerts newly formed "The concertos are just happy medium between too heavy and too light. They are very brilliant - pleasant in the ears - naturally without falling into the emptiness. Here and there even connoisseurs can only get Satisfaction - yet so -. That non-experts have to say satisfied, without knowing why " From these lines it is clear that the concerts KV were written 413-415 for the direct performance in Vienna and therefore followed a commercial objective. The proviso was apparently to provide both expert and non-expert satisfied by beauty of sound. In Concerto K. 415 this succeeds, inter alia, by the, in comparison to the two previous concerts, expanded orchestral forces. Trumpets and timpani give the concert a special glow. The composer offered in the Wiener Zeitung copies of three concerts at the subscription, but this does not lead to the desired financial success.

The conception of the work is Mozart was not easy again. As in the 12th Piano Concerto, there are also many sketches for this concert, which is unusual for Mozart's compositional work. A C minor design of the second set was discarded, for example by Mozart, because he may have been serious for him to Vienna for the expected audience. The middle movement in its final form is virtually filled with musical innocence and superficiality. However, Mozart could not be separated from the minor thoughts and used him as a slot in the final Adagio Rondo. This and the fact that the last sentence audience ineffective closes in piano again, shows that Mozart had to try here to bring together artistic ideals with commercial interests.

The premiere took place in the concert of Mozart on March 23, 1783 instead of the old Burgtheater in Vienna.

About the Music

Occupation

Solo piano, two oboes, two bassoons, two horns, two trumpets, timpani and strings

The performance lasts about 25 minutes.

1st movement: Allegro

The main clause begins with a march-like theme of the orchestra. Soon, timpani and trumpet are in addition and give the event a majestic character. The main theme is divided into four sections and develops in glittering sounds. The solo exposition will bring with it the formulated second theme, which has a thoughtful and restrained characteristic style. In the development and reprise the main theme appears only in the orchestra, without the participation of soloists. The concept of independence of the participants in a musical competition is driven to extremes.

2nd movement: Andante

The Andante is one of the simplest and most innocuous records concert of Mozart. The emotional focus of the concert, which is otherwise usually in the middle movements is shifted here to the closing sentence. The music has no great depth layer and has a simple design. Maybe Mozart has been withdrawn for two reasons. First, the capabilities of the plan for the performance of pianists do not seem to have been particularly large. Second, Mozart held an originally -designed minor Andante for too seriously, to offer it to the Viennese public in the planned concerts. The set is constructed in three parts and processed two song-like and calm ahead flowing topics in a simple way.

3rd movement: Allegro

The final Rondo is one of the more complicated Mozart sets. A two-time - slot in the minor Adagio leads to another topic. Apparently some Mozart was at this adagio theme, according to its characteristic style was originally the whole of the second sentence should be designed. The solo piano is the main issue before the beginning of the sentence. The first couplet leads the chorus theme continues in content and also leaves the home key not C major. The second couplet then sets the mentioned Adagio slot dar. In this way the sentence is replaced by an unexpected turn and provides the emotional climax of the work represents a singular case in Mozart's final movements of the piano concertos. The return of the first couplets moves the action to G major and leads to compacted implementation, are processed in which motives of the choruses. This is followed can be seen again that Mozart sonata form and rondo form on free way linked. The renewed Adagio slot then pulls a short entrance of the soloist in C minor by itself, leads to the last repetition of the chorus and the sentence leads to a muted finish in piano.

Status

The Piano Concerto KV 415 is the largest and most important of the first Viennese concerts. It is a precursor to many later piano concertos by Mozart dar. Thus, the system of the great Concerto K. 503 resembles not only formal, but also partly melodic this 13th Piano Concerto. In his Viennese concerts is taking place, an important change in the formal structure of the concerts. Thus, the importance and extent of Eingangsritornelle the main theorems keeps growing, and it turns out that Mozart has here a new concept in mind. The name of the orchestral exposition can now be applied to the concerts of Mozart, which thus increasingly becoming the classic basic form of the piano concerto. The larger orchestral forces, with trumpets and timpani (which are ad libitum here ), is in the later concerts not the rule and remains the exception. However, it should be noted that the top and bassoons in this concert now firmly belong to the occupation and are no longer ad libitum. The way to the obligatory accompaniment is nearing completion and 450 are fixed at the latest from the 15th Piano Concerto KV. The majestic basic rhythm of the concert is an enlarged system of the concert, in comparison to its predecessor concerts. Striking is further increasing the freedom with which Mozart composed the Rondo sets his concerts. So he mixed increasingly sonata form with the rondo form.

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