Piano Concerto No. 6 (Mozart)

The 6th piano concerto in B- flat major, K. 238 is a piano concerto by Wolfgang Amadeus Mozart. According to another census is his second piano concerto.

Formation

Part of the work, such as the 7th and 8th Piano Concerto, to the group of first Salzburg concerts, which emerged in the first half of 1776. About two years after the completion of the 5th Piano Concerto, Mozart wrote the work in January 1776 in a few days down. It was probably intended for performance in a smaller circle. This concert is significantly influenced by the experiences of Mozart, which he gained in the violin concertos that have been previously developed. The concert is already showing great individual features of the compositional style.

About the Music

1st movement: Allegro Aperto

Is above the set, despite the Allegro label, a muffled and sometimes nostalgic mood. This is an early flash of later in some works outcropping called " smile with tears ." This refers to the superficially cheerful and boisterous music of Mozart, but contains a dimension of depth or other sensations. The short ritornello, which is still too small to call it orchestral exposition can contain both topics that will be included shortly thereafter by the piano. Solo instrument and orchestra share in the most charming way often the flow of thought. The implementation is an almost pure fantasy implementation, since hardly any material is processed from the topics. This is characteristic of the early Mozart concertos. After a short solo cadenza of the sentence fades away casually in piano.

2nd movement: Andante un poco Adagio

In the second sentence the usual oboes are replaced by flutes. These give the record its special timbre, which points to the middle movement of the Piano Concerto K. 467. The almost floating character of the music, is often achieved by the consistently low throbbing accompaniment chords in the strings in 9/8 meter in Pizzicato. The theme is cantabile and reminiscent of the aria " Si la nostra varietal " KV 209 A implementation is missing the block where its place is a written-out reconciliation, as is found in many late Andante Mozart sets also. The uniformly progressive movement ends after a short piano solo with the fading away accompanied by strings and flutes.

3rd set: Rondeau, allegro

In the 6th piano concerto there is a Rondo, as is customary for the Mozart piano concertos. This final rondo starts with a simple theme in the solo piano, which is immediately absorbed by the tutti. A second thought is accompanied by horn fanfare, the few bars where the winds have obligate function. This should change only from the 15th Piano Concerto K. 450 sustainable. A minor processing of the rondo theme brings vitality and variety to the sentence. A small solo cadenza leads to the last occurrence of the rondo theme and the fading away of the sentence in piano.

Status

The Concerto K. 238 is one of the quiet representatives of the early works. It dispensed with outer gloss, which can be seen also in the cast 175 reduced compared to the Piano Concerto KV. It reveals the principle of orchestral chamber music, which applies to some later concerts as characteristic. Also close all three sets in piano what waiving impressive final bars means more interior and acts. This is a unique event in Mozart's piano concertos. The soulful middle movement has melodically and sonically clearly to the more mature and sophisticated counterpart in the 21st piano concerto, K. 467.