Piano Concerto No. 21 (Mozart)
The 21st Piano Concerto in C major, K. 467 is a piano and orchestra by Wolfgang Amadeus Mozart. After deviating census, it is the 15th piano concerto by the composer.
Formation
Within four weeks after the composition of the 20th piano concerto K. 466 Mozart wrote in the spring of 1785 settled the 21st piano concerto in Vienna. It thus belongs to the group of large symphonic piano concerts, which began with the previous concert. The richly orchestrated work seems to be inspired in many respects by Joseph Haydn. Mozart wrote the work for its own concert performances in Vienna.
About the Music
1st movement: Allegro maestoso
The tempo marking for the first sentence is missing in the autograph, and can only be found in Mozart's handwritten catalog of works. The march-like main theme will be presented in triplicate, first chamber music, then tutti and finally contrapuntal. Between these variations of the main theme, briefly appeared on an equally serene second theme. The ensuing solo exposition touched the cut on the orchestral main theme only briefly, and then introduces a third theme, which is anticipated from the 550 developed later main theme of 40th Symphony in G Minor KV. The implementation is the artistic center of the sentence; they work with two motifs from the main theme and combines them with new thoughts. Towards the end of the implementation plunges pedal point in the middle voice, which leadeth to the recapitulation. This procedure will be characteristic for later Franz Schubert. The orchestral main theme dominates also the recapitulation, which is a clear indication that it is a very symphonic piano concert. The extended solo cadenza touches the main theme and then turns back to the g - minor theme from exposure to. The final orchestral ritornello can fade away optimistic about the sentence with the main theme. However, the sentence does not end in Forte, which allows a better transition to the subsequent Andante.
2nd movement: Andante
The gambling on the G- string violins give an almost floating and dreamy character of the pack. He is the artistic development of similar incipient Andante from the Piano Concerto K. 238 6 of 1776. The sentence is the basic example of the cantabile character of many Andantesätze Mozart. The nearly continuous triplet accompaniment, combined with delicate pizzicato, the set lends a uniformity and accompanied an endless melody which continues to flow continually. Formally speaking, it is in this Andante is a highly compressed sonata form. The solo piano takes over after the purely orchestral introduction, both the subject and the triplet accompaniment. A second thought in F minor follows, without interrupting the flow. A short introduction by a similar part is going a little thematically and can be counted as a type of fantasy gland. After a brief coda fades away the poignant sentence without the melody once stopped weiterzufließen. Even the triplet is composed of only two brief points.
3rd movement: Allegro vivace
The final rondo rondo form mixed with sonata form in unprecedented ways. The hilarious, almost rollicking chorus issue is presented in the orchestra, and then taken over by the solo piano, after a short entrance. The first couplet brings a merry - sudden second thoughts. After the repetition of the chorus theme, follows no rules just second couplet. Instead, followed by an implementation in which turned the chorus theme among others shortly after Minor, and is processed manigfaltig. Then the chorus theme is repeated yet again, as the entrée round the soloist in variirter form. The cadenza is going on motivic and processed in the main, the theme of the first couplets. Hilarious sentence ends in jubilant chords of piano and orchestra.
Status
The 21st Piano Concerto represents a major substantive counter- point to its direct predecessor, the 20th Piano Concerto KV 466 dar. The gloomy predecessor in D minor, a C major work is here faced with large orchestra and shiny and cheerful theme. Like its predecessor, this work belongs to the symphonic piano concertos, a type that Mozart had reached in d- minor concerto. The orchestral parts are very large, the solo piano takes over in some places only accompanying function. For example, the main theme of the first movement a strong orchestral theme that is also included only fleetingly by Piano. A third theme takes the theme of the G minor Symphony, K. 550 in advance, which was created three years later.
The orchestra is expanded with trumpets and timpani, which was the last time occurred in the Piano Concerto K. 451. Formally, it can be said that Mozart in the last sentence, drives the previously practiced in many concerts amalgamation of rondo and sonata form here on the top. The second couplet falls, for example, a great accomplishment for victims. Mozart is demonstrating once again that he is able to interpret the usual principles of form creative and adapt its composition ideals.
The main theme of the second set arrived internationally at very great popularity since it was used as a film music in the film Elvira Madigan. Then, in some places a naturalized the anachronistic name Elvira Madigan for this concert, although the lady in question lived about 100 years later and the film comes from the 20th century.