Piano Concerto No. 14 (Mozart)

The 14th Piano Concerto in E flat major, K. 449, is a piano concerto by Wolfgang Amadeus Mozart. After deviating count is the 8 piano concerto by Mozart.

Formation

The 14th piano concerto is the first work that Wolfgang Amadeus Mozart earned himself in his own work directory, which he led until his death year. On February 9, 1784 Mozart finished the concert and wore it in the directory. Large parts of the work has already been written in 1782, when the concert has not yet been completed. It is likely that Mozart held the conception of this concert is too difficult for the districts in which the concert was to be performed. He initially wrote the lighter weight concerts KV 413, 414 and 415 with the 14th Piano Concerto Mozart stands at the crossroads namely from the old form to a new classical concept of the piano concerto. One last time he indicates to treat the Winds ad libitum. In a letter to his father Mozart 1784 also reports: "This is a concert of a very special kind, and more for a small, written as a full orchestra. " The accompaniment can therefore also be played with four string instruments. Mozart wrote this concerto for his student Babette Ployer, which he believed to be talented enough to perform the new work difficult.

About the Music

1st movement: Allegro vivace

The main clause, as only the first movements of the concertos K. 413 and K. 491, in triple. The long orchestral exposition begins with a descending unison motive in the strings. A special feature is the mixture of different interest groups and the surprising use of the set of pages in C minor. The second theme appears unusually equal in the dominant G major. The solo piano enters with a variation of the first theme. The subsequent transition to the second theme looks almost like an independent third theme. In the troubled Mozart implementation uses a small rhythmic motif from the main theme, which is the driving force. This part is partially dramatic density that includes Beethoven. The very motif foregoing cadenza maintains this drama and gives her virtuosic expression.

2nd movement: Andantino

The poignant Andantino is of great emotional depth and expressive power. The structure of the sentence represents a unique blending of three-part variation form, rondo and sonata form dar. The main idea is introduced by the strings in the elegiac song. From this develop with the solo piano, the full first issue and the adjoining second theme in F major, which is not completed. In the compressed midsection Mozart caught the action, in the context of misleading modulation to B - flat major, briefly after B minor. This harmonious surprise gives the music a dark and painful character. Only the re-use of comforting main theme in B flat major leads to a harmonious calm and lets the sentence trail off peacefully.

3rd movement: Allegro ma non troppo

The final rondo starts with a jokingly descending chorus theme in the strings. The first couplet is in this Rondo the standalone second theme Represents the solo piano takes up the refrain and couplet almost verbatim from the orchestra. The second couplet leads to dramatic and almost contrapuntal compressed manner to C minor. This is followed by a small implementation of the choruses. The innovative closing part is characterized by a double coda with a change of pace. The first Coda surprisingly leads to the herein -delayed repetition of the second couplets. The transition from the first to the second coda then leads into the harmonious remote and seldom used key of the minor. The second coda closes now in 6/8-measure and leads the movement to a joyous and short end.

Status

The 14th Piano Concerto is one though, as the preceding Piano Concertos K. 413, K. 414 and K. 415, still too early concerts in Vienna, removed, however, the content and form further and further from that period of creativity and has the second group Viennese concerts, which with the 15 piano concert begins. So the 14th Piano Concerto is the last work of this kind, in which the wind accompaniment is ad libitum. The way to the obligatory accompaniment is completed in the following piano concerto K. 450. Even in the other early concerts in Vienna suggested that the wind accompaniment barely ad libitum, but is increasingly becoming mandatory. This 1784 concert composed opened a series of four concerts that were written within half a year, and a new creative phase Mozart initiate. Mozart is like at concerts KV 413-415, that the concert also a quattro, could be so listed with only string quartet accompaniment. It differs from the large-scale predecessors KV 415 However, this procedure is for the earlier concertos Mozart's quite common. In this concert, Mozart breaks more than ever, with formal principles and thus demonstrates its grandeur on predetermined composition conditions. Mozart has reached artistic maturity to break with retracted schemes and to interpret the existing principles of form each time.