Piano Concerto No. 23 (Mozart)
The 23 Piano Concerto in A major, K. 488 is a piano concerto by Wolfgang Amadeus Mozart. According to a different count, in which only the derived exclusively from Mozart piano concertos themselves are counted, it is the 17th piano concerto by the composer.
Formation
The 23 Piano Concerto was completed on 2 March 1786. The now well-known work was written in parallel with the work on the opera The Marriage of Figaro. Like its predecessors since the 15th Piano Concerto, it is one of the great Viennese concerts, which Mozart composed for his own concerts. In September 1786 Mozart sent the work, along with some other compositions, Joseph Mary, the Prince of Fürstenberg in Donaueschingen, with whom he was friends, so that it could perform the works.
About the Music
1st movement: Allegro
The first movement begins with a slow theme in the strings from which the vocal and serene main idea developed. A second issue is of lyrischerer nature and has a long postscript. The ensuing solo exposition presents completely regular meet both issues again, extends the first but a little. The transition to implementation, however, does not proceed from completely regular, as developed simultaneously at the beginning of an almost independent third theme. Almost the complete implementation used this idea with variations and interjections of the piano. Also at the end of the recapitulation emerges that thought on now, which shows that Mozart the formal principle of recapitulation long liberally interpreted and, as in several concerts before, the developments of the implementation involves. Unusually, Mozart wrote out the solo cadenza in this concert. This proves the content integrated function of the cadence in the overall concept of the sentence. The movement ends with a short Schlussritornell of the orchestra. This end seems almost beside the point and ends with a small turning figure in mezzo piano.
Second sentence
The Adagio in Sicilianotakt provides the emotional center of the work represents the painfully sweet melody is presented by the solo piano in a melancholy way. The rare Mozart Key F sharp minor gives the set a special ring. The orchestra is consistent with a sighing gesture into the topic. Then intone orchestra and solo piano in a joint action, the main topic. A lichterer, second thought in A Major is then sung by the clarinet and lapped by the solo piano. This change lasts only briefly, as the repetition of the first part follows. The issue here appears in varied and extended form. Before the coda, the last part of the main theme is again varies from piano and orchestra. It is a very free use of the three-part song form. The poignant sentence fades away with some piano chords.
3rd movement
The erratic onset, optimistic main theme of the final major Rondos represents a major substantive contrast to previous Adagio Represents the chorus theme is actually two issues that follow each other. The first couplet brings a thought in E minor, which is rapidly modulated to E major. It has a long postscript, which is made up of several sequences. Following is a brief return of the chorus theme, which is surprising modulates to F minor. With a dramatic gesture thus the second couplet begins in F sharp minor. This too is a two-part, a second part in D major follows on from the minor issue. The following repetition of the chorus, brings only the second part of the topic and forwarded immediately over to the repetition of the first couplets, which now does not appear in E Minor, but in A Minor. Only after this follows the repetition of the first part of the chorus topic. The whole final part of the sentence is now working with this topic, which is also used in the coda. This is very detailed and designed in Buffocharakter.
Status
The 23 Piano Concerto K. 488 is one of the piano concertos, which are referred to as symphonic concerts of Mozart. A great commonality it has with the piano concertos K. 482 and K. 491, since it is the only Mozart's piano concertos, in which clarinets are prescribed. These three concerts are therefore often referred to as the clarinet concertos. The instrumentation, however, differs significantly from the other two concerts, since the work is orchestrated rather chamber music. There is a lack trumpets and timpani, as in the earlier chamber music concerts of 1784th
Nevertheless, the Piano Concerto K. 488 is one of the most famous works of Mozart. It represents the epitome of the classic piano concerto dar. The piano part is again designed virtuosic than in the previous 22 Piano Concerto. The formal structure of the concert is quite progressive. In the first sentence the individual components of the sonata form take about the same a lot of space. Only the recapitulation is longer, because the achieved in the implementation progress will be incorporated in it. This approach has the great piano concertos of Beethoven and the romantic works in this genre. There is a close thematic binding, as it was previously found at most in the Piano Concerto K. 466 between sets. This also points to the future of the piano concerto.
The middle movement is in the key of F sharp minor seltenst used in Mozart, and is written in the Siciliano rhythm. Yet here Adagio Mozart wrote before tempo marking, again against his own demand, " in concertos are louder Andante and Adagio be no " breach. The final movement combines as 453 already happened in the Piano Concerto KV, the world of the concert with a Buffocoda. This could be due to the simultaneous formation time of the concert, with the Marriage of Figaro.
The Piano Concerto K. 488 is overall a prime example of late and mature piano concerto by Mozart. That is why it is likely to enjoy an even greater popularity and popularity than most other concerts of the composer today.