Piano Concerto No. 19 (Mozart)
The 19th Piano Concerto in F major, K. 459 is a piano concerto by Wolfgang Amadeus Mozart. After deviating census, it is the 13th piano concerto by the composer.
Formation
The 19th piano concerto was written, as well as his five predecessors in 1784 in Vienna. Like its predecessor, it is due to the march-like theme of the main clause, as a military concert. Moreover, it is often referred to as 2nd Coronation Concerto, Mozart because this probably next to the original Coronation Concerto KV 537 aufführte. The reason for this performance was the coronation of the Emperor Leopold II in 1790 in Frankfurt. Whether the concert has been performed previously, is not known. However, in 1786 Mozart sent this work to Prince of Fürstenberg in Donauesching, who had possibly perform it.
About the Music
1st movement: Allegro
The serene and become popular main theme is fast march-like character. It remains unusually, the only formulated subject to which follow only secondary motives. In the solo exposition a second theme is introduced by the orchestra, which receives the solo piano immediate and extended. This topic is not march -like and does not seem quite to fit the musical context. The short implementation proceeds entirely thematically, but saves the second topic. It starts with a blow of the piano forte. Only the recapitulation then processes the second, alien theme. The solo cadenza engages in extensive manner, back on both topics. A short Schlussritornell ended the optimistic set. In the course of the whole sentence can be, as well as throughout the concert, the melody leading importance of wind to determine which often only the accompaniment function allows the piano left.
2nd movement: Allegretto
The middle movement, which is not an Andante in this concert, although Mozart emphasized in a letter to his sister in June 1784, " that must be in any concerts Adagio, Andante but louder ." While there is at this rate by no Adagio, but just is not a self- demanded Andante ago. The Allegretto is taken not particularly fast in the concert practice, as this would be contrary to the prevailing lyrical character. The record has been created in the form of a big two-part song form. The set contains three themes, which in Mozart although occasionally occurs, but is only at Anton Bruckner the rule. The third topic turns to the minor. The solo piano takes up in his solo exposition both topics quasi jointly by pass this together. The song-like movement ends with an extended coda, which relies on a subject of the second theme.
3rd movement: Allegro assai
The final movement is the artistic highlight of the concert. Mozart succeeds here merging jocular, catchy Buffoelemente with the strict form of counterpoint to join. This is done in an extended, standing between sonata form and rondo form large-scale set. The piano introduces the hilarious acting, sudden chorus topic which is answered by the woodwinds. It follows now surprisingly and with great effect a fugal, which begins with the use of strings. The Soloist logs on again until 120 clock with an entrée to speak. The piano leads into the first couplet, which is again dominated by the winds. The postscript of couplets consisting of elements of fugatos. There now follows a passage that replaces the second couplet. Here, now once again sets the Fugatothema one, but this time as a great Doppelfugato, of impressive power. The subsequent repetition of the first couplets, leads to a large transition to solo cadenza. This is marked by impressive power and virtuosity and processed chorus topic and Fugatoelemente. A brief coda ends the remarkable theorem.
Status
The concert will, like its predecessor, K. 456 designated as military concert, which is on the march-like theme of the main theorem. Of the two works as Mozart's Coronation Concerto designated, this former 19th piano concerto is the far more important. It belongs to the unusual representatives of Mozart's piano concertos. Even the tempo markings are faster than in the previous concerts. So this works even missing an Andante middle movement, which was replaced by an Allegretto. The key innovation of this concert is the incorporation of contrapuntal elements in the context of the solo concerto. An example is the final movement of a simple and a double fugal. This is unique for Mozart's piano concertos, but for example, has the final movement of the late 41 symphony. The expansion of the third sentence anticipates even more of her own and the history of music following symphonic piano concertos. The role of the solo piano is often reduced in this remarkable concert on an accompanying feature. The since the 15th Piano Concerto K. 450 obbligato wind take over here often melodic lead. The theme of the final movement can be found in two works of great composers again. So Joseph Haydn builds the finale of his 89th Symphony on the main theme of the third movement of this concerto. Ludwig van Beethoven used this idea for farmer theme in the third movement of his Pastoral Symphony.