Piano Concerto No. 25 (Mozart)
The 25th Piano Concerto in C major, K. 503, is a piano concerto by Wolfgang Amadeus Mozart. According to a different count, in which only the pure and completely derived from Mozart concerts are considered, it is the 19th piano concerto by the composer.
Formation
The 25th Piano Concerto was completed in December 1786 in Vienna. It is considered the last great incurred in Vienna Mozart's piano concertos. This Mozart composed all for their own concerts. The composition of the work falls already in the time after the completion of the Marriage of Figaro. A period in which Mozart reached the highest level of productivity, and accomplished some great compositions within a few weeks. Shortly after the completion of the piano concerto Mozart broke out on a journey to Prague, where he probably played this concert.
About the Music
1st movement: Allegro maestoso
The opening Allegro is the longest concerto movement in Mozart's oeuvre. The detailed exposition begins with some solemn chords of the entire orchestra. The main theme develops in the sequence via a turn to the minor. A reconciliation, in which manifest themselves trumpets and timpani solemnly leads to the second theme. This has caused the later French national anthem, La Marseillaise, back. This theme first appears in a minor key, but then turns to major. The solo exposition starts off relatively unimpressive, with a athematic Entrée of the pianist. It follows the agreement of the piano in the solemn main theme of the movement, which is then expanded. Modulations via E-flat major, G minor and G major cause vocal and peaceful third theme of the movement, which is introduced by the solo piano. Only after 228 cycles ending the extended exposure. This is followed by a relatively short implementation, which preferred the Marseillaise theme. It comes here to a sophisticated polyphonic compression of thought. An eight-bar pedal point leads to the recapitulation, which mostly runs regularly meet. However, the modulation to the third theme takes far more paths wander through remote keys as minor and C flat major. The large-scale solo cadenza processed motives of all the topics and apply them also frequent after minor. A short Schlussritornell finished the sentence with majestic chords.
2nd movement: Andante
The Andante, formally, is a shortened version of the sonata form represents the orchestral exposition introduces two worn, strangely unclear formulated topics before. The solo piano then takes on both issues and articulate them with enthusiastic gesture. Instead of an implementation is only a brief interlude, which unfolds on a pedal point in almost cheerful ductus. Then there is a harmonious apparent standstill, which is animated immediately by instrumentation and dynamics. The subsequent recapitulation is only a shortened form of exposure. The final coda is taken from the exposure and ends the simply constructed sentence with an upward figure of the piano.
3rd movement: Allegretto
The final rondo starts with a behavior -merry chorus theme, which is uncharacteristically initially only presented by the orchestra. Noteworthy is the rapid onset, profound minor clouding the issue. The solo piano then logs with a private entrance to Word, which leads over a pedal point for the first couplet. This represents a cheerful song theme, which is mainly sung by the woodwinds, the piano has an accompanying feature. Another pedal point leads to the repetition of the chorus. The minor clouding of the issue leads into the second couplet, which is as common in Mozart, in two parts. The first part in A minor consists of dramatic minor chords that fade away quickly and reconciled to the second part in F major. Here is a lyrical and poignant vocals between solo piano and strings developed. Here the cello in the accompaniment is particularly noticeable. The erhabende song oscillates strangely between major and minor. Again, the impression of the smile through her tears, which is characteristic of some profound points in Mozart's music. A long pedal point to reconcile ends with the second repetition of the chorus theme, now without a minor variant. Instead, immediately follows the repetition of the first couplets. Only in the following final appearance of the chorus theme the minor variant reappears, now in umspielter the piano manner. A longer coda ends the concert with wide sweeping gestures and some triumphant final chords.
Status
The 25th Piano Concerto, as with all works of this kind since the 20th Piano Concerto, to the symphonic concerts. In contrast to the previously accumulated concerts KV 482, KV 488 and KV 491 Mozart omitted here again on the use of clarinets. Nonetheless, the concert includes the use of trumpets and timpani to a large cast, as they can be found for example in the concertos K. 451 and K. 466. The 25th Piano Concerto is the last of the great Viennese concerts, which began 450 no later than the 15th Piano Concerto KV. The concert is one of the larger scale pieces within this group and has about 35 minutes, a similar long performance life, such as the Piano Concerto No. 22, K. 482, the header record is even the longest concerto movement, wrote the Mozart. The work has some compositional features and innovations, which have significantly in the future and Beethoven. In addition to the dimension of the work, this concerns for example the detailed motivic work. The opening motif of the second theme permeates the entire set, often without direct presence. In addition, the concert unusually often has the use of long pedal points. This goes beyond the usual with Mozart using the organ-point, the return of a main theme, also. Characteristic daraüber is, the Frequent change of tonalities. The main themes emerge in both major, and in minor usually. This can certainly be considered Mozart's artistic development, which points to the future. The artistic and human mature Mozart is to address the situation, drama and melancholy in art and make a deep emotional statement, as last but not least show the Concertos K. 466 and K. 491.