Piano Concerto No. 16 (Mozart)

The 16th Piano Concerto in D major, K. 451, is a piano concerto by Wolfgang Amadeus Mozart. After deviating census, it is the 10th piano concerto by the composer.

Formation

The 16th Piano Concerto was composed in the context of four resulting in Vienna concerts in 1784. Mozart used these concerts for his own performances in Vienna. During this time, the composer gave many concerts and was obliged to offer the public new works. Mozart expanded the orchestral apparatus compared to the previous 15 Piano Concerto for trumpets and timpani, as was recently done in the 13th piano concerto, K. 415. The whole concert takes thematic relating to the opera Idomeneo, which Mozart had already conceived at that time.

About the Music

1st movement: Allegro

The main clause begins with a march-like theme. The orchestral tutti sounds festive and largely occupied with trumpets and timpani. The structure of the block is easier than the previous concert, while the design is for virtuoso. The long exposure provides for two subjects in similar ductus and a long, three-part postscript. The solo piano introduces himself with solemn chords and voiced once the solemn main theme. The presentation of the soloist is designed highly virtuosic and brilliant at any time. The implementation relies on a nondescript side design from the exposure. Again and again in this concert of flute melody -bearing tasks. The recapitulation differs again from the exposure, it appears in greatly extended form. This is followed by a brilliant solo cadenza, which operates largely unmotivisch. The record is ended, unusually, by a pedal point of the flute, which accompanies the final chords of the orchestra.

2nd movement: Andante

In the Andante silent trumpets, timpani and some Woodwinds, why a lyrical sound. In form it is in this middle movement is a rondo. The first couplet quoted a passage from Idomeneo, resulting in a lyrical, almost vocal character of the music. Here there is thus an example of the so-called principle speaking in the instrumental music. The second couplet, initiated by the horns, leads to E minor. As often with Mozart, it is in two parts and ends in C major. The coda brings once more new material.

3rd movement: Rondo, Allegro di molto

The final Rondo opens up the dance music for the concert context. The chorus is a country dance represents a elegant and festive character is above the music. The entrance of the soloist performed with a fanfare, which is taken from the second part of the main theme. The first couplet is, however, designed in the characteristic style of a German dance. The return of the chorus theme brings splendid ornaments of solo piano with it. After a surprisingly demanding cadenza followed by a change of pace for the 3/8-time in which returns the chorus. Some festive chords of piano and orchestra then end the solemn sentence in a coda, which, unusually, once again takes up elements of the first couplets.

Status

The 16th Piano Concerto continues the 450 reached in the 15th Piano Concerto K. big classic shape of the piano concerto. The role of the fan is now obligatory, the main clauses begin with large orchestra exposures, the sentences partially form a relationship with each other, the formal principles be liberally interpreted and the solo part does an increased level of virtuosity. Especially in this concert, the soloist has to cope with difficult and virtuosic tasks. The military- march-like main theme of the first movement has similarities to the so-called military concerts KV 456 and KV 459, which emerged shortly thereafter. In this concert Mozart established the dance in the context of the concert. The final Rondo is a country dance in the chorus and dar. in the couplets Teutschen a dance re- presents Mozart to prove that he can extend the prevailing principles of form and reinterpret any time.