Piano Concerto No. 5 (Mozart)
The Piano Concerto No. 5 in D major, K. 175 is a piano concerto by Wolfgang Amadeus Mozart. According to another census, it is the first piano concerto, since this was preceded by at most studies with the so-called Pasticciokonzerten KV 37-41 and the three piano concertos KV 107 by sonatas by Johann Christian Bach.
Formation
Mozart wrote the concerto in December 1773 at the age of only 17 years. His first stand-alone piano concerto was written over six years after the first steps with the pastiche concerts. A time in which Mozart had the necessary skills and experience for your own first work of such a complex genres such as the Piano Concerto appropriated. It is already showing Mozart's own distinctive traits, although some passages still remember the models Joseph Haydn, Carl Philipp Emanuel Bach and Johann Christian Bach. Mozart replaced the finale to overweight apparently he published later by the Rondo K. 382 for the performances of the concert in Vienna. By this he wanted to devote more attention to the prevailing taste of the public, and this does not overwhelm.
About the Music
1st movement: Allegro
The structure of the sentence corresponds essentially already the usual Mozart 's conception of a first set in the solo concert. The opening ritornello of the orchestra, presents two issues. It is in the Mozart's piano concertos still quite customary and reasonable, leaning on baroque solo concertos, to speak of ritornellos. The main theme is catchy and hilarious character. The solo exposition takes up the phrases of the first orchestral tutti and expands them. The piano crazy what is happening in the dominant, in this case to A major. The preferred implementation of the first theme, which is figuratively embraced by the piano. Shortly after the implementation of the workout, a false recapitulation, which falls into the musical history. A solo cadenza for the piano, which already requires a non-negligible level of technical skills, leading to short Schlussritornell.
2nd movement: Andante ma un poco adagio
The set name suggests that Mozart wanted to know not applied the usual at that time flowing character of the tempo marking Andante here. The kit uses a shortened form of the sonata. The orchestra presents the thoughtful and slightly melancholic theme, accommodating the solo piano after a few bars. The theorem shows kinship with the concert aria KV 294, which carries the tempo marking Andante sostenuto. This middle movement of the 5th piano concerto is already showing features of the inward and sensitive deep middle movements of Mozart's piano concertos.
3rd movement: Allegro
The finale looks to the future at least. The canonical run main theme is more reminiscent of a Baroque concert. What is new is the way the piano figurations, which are designed subtle and imaginative. The main theme basically consists of a sloping chord, which is played by the strings in unison and syncopation is shifted in the last two tones. This results in the musical history developed. A short and virtuosic cadenza leads to the optimistic end of the concert.
This sentence was later replaced by the Rondo K. 382, in order to satisfy the Viennese public. However, this created nine years later Rondo shows considerable differences in style to the rest of the concert.
Effect
The concert enjoyed great popularity during his lifetime Mozart. The performances of the concert were very well attended. So the concert was still in 1778, 1782 and 1783 listed in Wien, which was not really that common, since many small compositions that time were more likely chance music, which was performed only a few times. With Mozart's works would change this term.
Status
The first independent Mozart's Piano Concerto is in many ways atypical for Mozart concert. The orchestral apparatus is unusually large for Mozart's circumstances. It also includes trumpets and timpani, which is a unique case for his early piano concertos. The fact that the final sentence in the pure sonata is, is also an exception for the concerts of Mozart. In the same time incurred Violin Concerto K. 207, this is also the case. Both sentences were later replaced by simple rondo movements. Another peculiarity of this work is the low range, the solo instrument has to deal with (A to d'' ' ). Mozart had already demanded even in earliest works greater tonal ranges. This can either be explained by the fact that the work was intended for a performer whose instrument had a small range, or the work is not delivered in original, but finished form. The autograph has disappeared untraceable since 1860.
The Piano Concerto K. 175, is a pioneer of the following great piano concertos of Mozart. In large-scale Piano Concerto K. 451 Mozart will again use the key of D major. The work already gives an idea of the ingenuity and the genius of the later concertos of Mozart. Already this early work represents a major advance over its predecessors plants of the genus with Johann Christian Bach and Georg Christoph Wagenseil Represents the concertante principle of solo and tutti in dialogic contest is here to true development. The quality of Mozart 's works in addition, as can be observed already at this early concert, is the plasticity of the invention, the beauty of the melodic ideas and the depth of feeling. The 5th Piano Concerto has this path, the Mozart will go in the following masterpieces of the genre.