Piano Concerto No. 26 (Mozart)
The 26th Piano Concerto in D major, K. 537 is a piano concerto by Wolfgang Amadeus Mozart. According to a different count, in which only the pure and completely derived from Mozart 's piano concertos are counted, it is the 20th piano concerto by the composer.
Formation
The 26th Piano Concerto bears the nickname " Coronation" Concerto commonly used. The work was written in February 1788, about a year after the previous 25 Piano Concerto KV 503 During this time he also wrote his last three symphonies of Mozart's great. The 26th Piano Concerto was first performed in 1789 in Dresden. His name, and probably also his determination, it has at its performance for the imperial coronation of Leopold II in 1790 in Frankfurt. There it was played in a gala concert on October 15 in conjunction with the 19th piano concerto, K. 459.
About the Music
1st movement: Allegro moderato
The first movement begins rather restrained in piano before solemn trumpet sounds ring in the orchestral tutti. A second likewise first piano Argument raised topic affects mischievously and pulls a long trailer with it, which is hardly to be regarded as an independent third theme. The following solo exposition begins with the solo presented first theme and then extended the second issue considerably. The following implementation first proceeds motif but terminates almost improvisatory. The musical arrangement is not of the usual quality, but often limited in scale runs. Only the beginning of settlement by a turn to the minor from dramatic elements. The recapitulation is substantially meet regularly and performs relatively abruptly to the solo cadenza. The set then ends with an unusually short Schlussritornell with some festive chords.
2nd movement: Larghetto
The tempo marking Larghetto is not from Mozart himself, who titled the sentence in the sketches with romance. He has a simple three -part structure. A simple, peaceful theme in A major is presented by the solo piano and answered by the orchestra immediately. The following middle section is divided into two parts and starts with irregular periodization of the topic. A modulating part then travels through the keys of E minor, B minor, A minor and C major. It is followed by the repetition of the first part. A short and simple coda ends the movement.
3rd movement: Allegretto
The final rate is the type often used by the great Mozart rondo. It represents the musically most important movement of the concerto Represents the solo piano introduces a simple, hilarious theme which is taken up by the orchestra with Paukenakzentuierungen. This chorus topic still gets an attachment, which can be referred to rather as a complementary main theme, as the term to justify as a second subject. The first couplet turns on briefly as a minor and consists mainly of scale runs of the soloists. Instead of a second couplets inserts a small performing a Mozart, as he had already done in some concerts, and thus amalgamated rondo and sonata form. This implementation uses mainly the complementary theme and modulated by h- Moll B flat major to G major. It follows the repetition of the first couplets, which leads on via input terminal of the solo piano about recurrence chorus topic. A solemn coda ends the Rondo.
Status
The 26th Piano Concerto also heard externally to the symphonic piano concertos, like all Mozart's piano concertos since the 20th Piano Concerto KV 466 The cast is as great as for example in the festive concerts KV 451 or KV 467 Mozart writes for this concert, the use of trumpets and timpani before, which is hardly surprising, given the determination of the concert for an imperial coronation. However, in respect of the musical quality of this concert is not in the tradition of the great Viennese concerts. The topics are hardly significant and the piano technique is simple. It consists predominantly of Tonleiterläufigkeit and should not be innovative moments. Structurally Mozart goes here no new ways, but holding on to older form principles. These aspects of the 26th piano concerto in the vicinity of the early, immature concerts of Mozart. Since the plant is designed for a coronation, it does not seem surprising that the artist Mozart resigns here behind the external effect and the social and aristocratic conventions, as he used actually has long ceased to do it. This is a concession, as it will no longer occur in Beethoven.