Piano Concerto No. 17 (Mozart)
The 17th Piano Concerto in G major, K. 453, is a piano concerto by Wolfgang Amadeus Mozart. In the census of purely written by Mozart piano concertos, it is his 11th Piano Concerto.
Formation
The 17th Piano Concerto was like its two predecessors in 1784 in Vienna. Mozart wrote it not for themselves, but - just like the 14 's Piano Concerto - for his pupil Barbara Ployer. This played a concert for the first time on 10 June 1784 in her parents' home in Dobling. The concert is technically demanding than its predecessor, which shows that Ployer has been quite a talented pianist.
About the Music
1st movement: Allegro
The main clause begins with a march-like main theme in the violins, which is taken from the orchestral tutti. The march character, which is very clearly dominate in the following concerts KV 456 and KV 459, appears quite moderate here. A long reconciliation in the minor dominant and leads to the second subject. A behavioral acting circuit group ended the long orchestral exposition. The solo piano then takes over both subjects and adds even more private third theme added. The transition to the implementation is carried out with minor arpeggio chords, resulting in an increasingly dramatic character of the music. It is a place that has, in its harmonic progression on Franz Schubert and thus can be considered as the basis of romantic music. Almost every clock brings a new harmony, within twenty cycles are 13 keys touched. The following thematic elements, which recognize those carrying between fantasy and thematic implementation. The subsequent recapitulation is nearly compliant. It ends with a harmonious and dynamic fallacy, as it is still being used twice in the sentence. Thus, following the dominant the lowered sixth degree, connected to a Subitoforte the piano. After a very motivic previous solo cadenza follows an unusually long final orchestral ritornello.
2nd movement: Andante
The Andante begins with a worn Orchesterkantilene in which the flutes play a leading melodic role. The sentence is written in sonata form, which is a rare case for middle movements in Mozart's concertos. The basic key of the set is C major.
The opening solo piano solves dynamic contrasts, syncopated onset runs and a shift of the harmonics by Gis -Dur. The piano first introduces a completely new idea in G minor, before it goes to the canonical second theme, which is in four parts due to the appearance of the piano. The performance is full of harmonic sophistication. The event is first conducted in 13 cycles according to G sharp minor before returning to C major is completed in only four bars pianissimo. This is one of the most breathtaking and remarkable places of Mozart's music. This is followed by a varied recapitulation, which only runs according to the exposure, and, most recently in a middle movement of a piano concerto by Mozart, a solo cadenza. The remarkable set includes according to a variant of the main theme pianissimo.
3rd movement: Allegretto, Presto
The finale ( in G major ) is a set of variations Represents the lilting, folk- issue is presented in the orchestra and lapped by the virtuoso solo piano in a first variation. The repetition of the variation brings new aspects for themselves. Thus, any variation gets new, tender, variations in its own repetition. The following third variation brings a change in rhythm with him. Again takes up the solo piano on the melody and plays around them. It is followed by a G minor section, which is the fourth variation. The fifth brings fast falling objections of the orchestral tutti and a fully catchy piano. In a second part of the sentence Mozart holds a novelty ready. The coda is extended to an instrumental opera finale. A strengthening and accelerating pace horn chords introduce the coda. Twice also appears here the variation theme briefly, otherwise this part is thematically independent.
Status
The 17th Piano Concerto is the third concert, the great and new classical form, which he reached in the Piano Concerto K. 450 established in the Mozart. So take for example the obligatory brass and more often solo tasks and the freedom of the old principles of form can be clearly felt. The 17th Piano Concerto established not only the big classic shape, but belongs to the concerts, which already point in the upcoming romantic era. So E.T.A. has Hoffmann a setting on Schubert harmonic progression in the third set called " Example of Romantic music ." The large building of the concert with long stand-alone orchestral passages admonishes already symphonic piano concertos, which arise more frequently in Romanticism. Also, it has to come own, larger, sinfonischeren piano concerts, which start at the latest with the Piano Concerto K. 466.
Within the Mozart's piano concertos, the present work is also the last in which the middle movement still requires a solo cadenza. The emotional and artistic significance of the middle movements, usually Andante phrases, rising steadily in the coming concerts and focuses increasingly on expression and artistic statement rather than on virtuosity. Already in the next 18 Piano Concerto K. 456, this cadence is missing in the Andante. The design of the third movement is even a Unicum in Mozart's oeuvre dar. It is not a rondo, but a set of variations, which meet regularly runs up to the coda in five variations. However, the completion of the sentence is the realization of original incident Mozart: the instrumental version of the coda of an opera finale. It represents a separate, in the main theme, in which the variation theme is installed only twice. This is a unique event in the piano concertos by Mozart.