Piano Concerto No. 9 (Mozart)

The 9th Piano Concerto in E flat major, K. 271, " Jenamy " is a piano concerto by Wolfgang Amadeus Mozart. According to another census, it is the fourth piano concerto by the composer.

Formation

The 9th Piano Concerto is the last and most important of the resulting pure in Salzburg Mozart's piano concertos. The next works of this kind should arise already in Vienna. The composition was written in 1777 for the talented pianist Louise Victoire Jenamy. The concert was to 2004 misnamed due to an arbitrary invention of the biographers Théodor Wyzewa and Georges de Saint- Foix as " Jeunehomme concert " because it was assumed, the pianist would have borne this name. The pianistic abilities of the dedicatee must have been exceptionally large because the work is a new level of virtuosity and technical sophistication calls. Structurally, probably his only precursor in Carl Philipp Emanuel Bach 's work. Some innovations, such as the use of the solo instrument before the opening ritornello, can be previously detected only in Bach.

About the Music

1st movement: Allegro

The sentence beginning sees the unusual use of the piano solo in the middle of the orchestral exposition. The distinctive design of the input set consists of a E major chord and the subsequent ascending E flat major triad with three replications of the third stage. The piano was right here in the second one, the topic is so presented jointly by both, before the orchestra is formulated done. The solo piano resumes only after the presentation of the topic with an " input" to speak again, like Mozart 's called the piano prelude before the actual deployment issues. The implementation is kept short and processed in the main, the triad motif. In the following reprise the task distribution is reversed in the main theme. So now takes over the piano, the triad motif and the orchestra responds. The cadenza is designed extremely virtuosic and works thematically. In this she already has the cadenzas Beethoven. Mozart composed several cadenzas for the concert. A short Schlussritornell to which the solo piano unusually involved, finish the sentence.

2nd movement: Andantino

The Andantino is the first concerto of Mozart, which is in a minor key. He has a great sense of depth and grandeur. The movement begins with a sighing motif in the strings. It develops a dialogue between the first and second violins. The piano intones his serious singing on the basis of the soft strings. The repetition of the main theme then ends surprisingly in major and brings a bright and hopeful moment. From this, the more confident, but also lyrical and rapturous second theme developed. The implementation uses mainly the opening ritornello, which represents the beginning of the main theme. There appear some dark and, in this intensity with Mozart unprecedented, dramatic motifs. An extended solo cadenza, which is a motif directly involved in the composition, follows. Some minor chords then end the significant sentence.

3rd set: Rondeau

The seemingly endless rondo finale of the concert includes 467 cycles. There is the pianist, as yet none of the previous concerts, the opportunity for virtuoso development. The sentence starts directly with the rondo theme, which will be carried forward by the pianist. The subject acts in the course of the sentence as a perpetual motion machine. After the presentation of the topic, the orchestra takes up the idea and extends it. This expansion in turn takes on the solo piano and formulated the boisterous thoughts with the orchestra completely. The B theme of the rondo is a great solo cadenza of the piano, which calls for a Mozart Unseen to date level of virtuosity. It follows the shortened recurrence of the rondo theme. The middle part consists of a minuet, in the key of A flat major rarely used in Mozart. The emotional pleas raised by piano melody accompanied by pizzicato strings. After a slow transition part of the rondo theme returns. However, the listener is immediately reflected in medias res again, as she puts the orchestra immediately and a shortened version of the theme is intoned. This characteristic style of infinite mobility of the musical events of the remarkable sentence ends with two chords of piano and orchestra.

Effect

About the premiere of the work today is nothing more known. The music research assumes today that was written the work for Victoire Jenamy and possibly played by it. Her father Jean -Georges Noverre was a friend in Salzburg with Mozart. It is also assumed that the concert was performed in Mozart's lifetime more frequently by him and played what was not considered at that time for all the works, as it is often included shorter-term use compositions. The 9th Piano Concerto Mozart is today still one of his most popular, most famous and most played. The musicologist Alfred Einstein called the work, for example, in reference to Beethoven, " Mozart's Eroica ". The pianist and interpreter of Mozart Alfred Brendel even speaks of " one of the greatest wonders of the world " in terms of this piano concert.

Status

The 9th Piano Concerto represents a new quality in the series of Mozart 's piano concerts; There is a marked improvement over the previous works of the species observed. On one hand, occur at different structural unusualness which are otherwise not observed in the early piano concertos by Mozart. Thus, the use of the solo instrument is pushed, for example, in the opening ritornello. This is Mozart resume inter alia in the 15th piano concerto K. 450. It is also unusual that the soloist engages in musical events after the cadenza again. This is done so only in the 27th Piano Concerto.

The particular depth of feeling of the second set shows an unprecedented intensity in this quality of Mozart's middle movements. He has poignant slow movements of Mozart's piano concertos, as they occur for example in the 14th piano concerto, K. 449, and in the 15th piano concerto K. 450. The concert will be like, especially on the basis of this second set as an example of the so-called Sturm und Drang - led phase of Mozart. Another advance interpretive and groundbreaking innovation in this show is the clear thematic relationship of the rates themselves. So there is a clear relationship between the second subject of the main clause and the respective main Teman of the other sets. Especially in this sense is the 9th Piano Concerto, a revolutionary and ahead of German forming concert of great importance. His melodic beauty and freshness also makes it one of the most popular piano concertos of Mozart.