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A background and an analysis of Mozart’s piano concerto No. 24 in C minor, K. 491: Aids towards performance
Rhee, Meehyun, D.M.A.
The Ohio State University, 1992
UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 A Background and an Analysis of Mozart's Piano Concerto No.
24 in C minor, K. 4 91: Aids Towards Performance
D.M.A. Document
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Musical Arts in the Graduate
School of The Ohio State University
By
Meehyun Rhee, B.M., M.M.
* * * * *
The Ohio State University
1992
D.M.A. Committee: Approved by
Sylvia Zaremba, Adviser
Jerry E. Lowder, D.M.E., Co-Adviser
Lora L. Gingerich, Ph.D. To My Parents
ii ACKNOWLEDGEMENTS
I wish to thank my co-adviser, Professor Jerry Lowder, for his precise guidance and encouragement during my research. His clear direction and suggestions were vital to the completion of this document.
I respectfully acknowledge my advisor, Professor Sylvia
Zaremba, for her distinguished piano instruction, and I am grateful for her personal support and encouragement.
My sincerest appreciation goes to Professor Lora L.
Gingerich for her comments and suggestions and for her clear and prominent theory education.
To my husband, Kieyoung, I offer special thanks for his ceaseless support and understanding which he gave me during his own graduate work, for his encouragement was my strongest motivation. I thank my daughter, Woojung, for understanding my frequent absences. I am also truly grateful to my parents for their endless care and support. Finally, the assistance of Mario Estrada is gratefully acknowledged.
iii VITA
Meehyun Rhee
May 1, 1961 ...... Born - Seoul, Korea
February, 1984 ...... B.M., Piano Performance, Hanyang University, Seoul, Korea
February, 1986 ...... M.M., Piano Performance, Hanyang University, Seoul, Korea
1989 - 1991...... Graduate Teaching Associate School of Music, The Ohio State University, Columbus, Ohio
FIELDS OF STUDY
Major Field: Music
Studies in piano performance: Professor Sylvia Zaremba
Studies in piano Literature: Professor Donald Gren
Studies in Piano Pedagogy: Professor Jerry E . Lowder
Studies in Music Theory: Professor Lora L . Gingerich
Studies in Music History: Professor Keith Mixter
iv ✓
PERFORMANCES
Graduate Student ^Recital Series Tuesday, May 24, 1988. 6:00 P.M. Weigel Auditorium
Meehyun Rhee, Piano
Program
Ten Variations on an Air .A.Mozart of Chr. W. Gluck, G Major, K. 455
Sonata, A Major, Opus 120 Schubert
Allegro moderato Andante Allegro
Klavierstiicke, Opus 119 Brahms
Intermezzo, B Minor Rhapsodie, Eb Major
Intermission
Le Tombeau de Couperin Ravel
Prelude Forlane Rigaudon Menuet Toccata
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee
v Graduate Student Recital Series Saturday, February 18, 1989. 5:00 P.M. Hughes Hall Auditorium
Meehyun Rhee, Piano
Program
F^tes galantes No. 1 C. Debussy
En Sourdine Fantoches Clair de Lune
Sieben Friihe Lieder A. Berg
Nacht Schilflied Die Nachtigall Traumgekront Im Zimmer Liebesode Sommertage
Don Giovanni W.A.Mozart
"In quali eccessi, o numi" "Mi tradiquell1 almaingrata"
assisted by Seonmi Koh-Noh, Soprano
Intermission
vx Trio for piano, clarinet and violincello J.Brahms A Minor, Opus 114
Allegro Adagio Andantino grazioso Allegro
assisted by
Dan Lochrie, clarinet Barb Naragon, cello
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee.
vii Graduate Student Recital Series Saturday, June 30, 1990. 8:00 P.M. Weigell Auditorium
Meehyun Rhee, Piano
Program
Sonata for two pianos, D Major, K. 448 W.A. Mozart
Allegro con spirito Andante
assisted by Tziming Yang, piano
Piano Concerto No.1. Eb Major F. Liszt
Allegro maestoso Quasi adagio- Allegretto vivace- Allegro marziale animato
assisted by Mingshan Kong, piano
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee.
viii Graduate Student Recital Series Tuesday, April 2, 1991. 8:00 P.M. Weigel Auditorium
Meehyun Rhee, Piano
Program
Sonata Opus 10, No. 2, F Major Beethoven
Allegro Allegretto Presto
Sonata No. 2, Opus 35, Bb Minor F. Chopin
Grave-Doppio Movimento Scherzo Marche Funebre Finale-Presto
Intermission
Quejas o la Maja y el Ruisenor E . Granados (The Maiden and the Nightingale) from "Goyescas"
Fantasia Baetica Manuel de Falla
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Rhee. TABLE OF CONTENTS
ACKNOWLEDGEMENTS ...... iii
VITA ...... iv
LIST OF TABLES...... xii
LIST OF FIGURES...... xiii
CHAPTER PAGE
I. INTRODUCTION...... 1
Background...... 5 Historical Background of W.A. Mozart...... 5 Historical Background of the Concerto...... 12 List of References...... 17
II. RELATED LITERATURE AND SOURCES...... 19
Description of research methods, sources...... 19 List of References...... 30
III. PRESENTATION AND ANALYSIS...... 32
First Movement: Allegro...... 33 F o r m ...... 34 Melodic characteristics 3 9 Harmony 4 5 Technical Characteristics...... 50 Second Movement: Larghetto 5 6 F o r m ...... 57 Melodic characteristics...... 60 Harmony...... 65 Technical Characteristics...... 69 Third Movement: Allegretto 7 2 F o r m ...... 72 Melodic characteristics 7 6 Harmony...... 83 Technical Characteristics...... 8.6 List of References...... 91
x IV. SUMMARY AND CONCLUSIONS...... 93
BIBLIOGRAPHY 9 6
BOOKS ...... 9 6 ARTICLES...... 97 MUSIC SCORES...... 98 DISCOGRAPHY...... 9 9
xi LIST OF TABLES
TABLE PAGE
1. A List of Mozart's Piano Concertos...... 12
2. Form of the First Movement...... 35
3. Form of the Second Movement...... 58
4. Form of the Third Movement...... 73
xii LIST OF FIGURES
FIGURES PAGE
1. First theme, 1st Movement...... 40
2. Transition 2, Measures 35-40 ...... 41
3. Measures 80-87, 1st Movement...... 41
4. Piano theme 1, 1st Movement...... 42
5. Piano theme 2, 1st Movement...... 42
6. (a) Imitation at the octave, Measures 44-50; (b) Immediate repetition, Measures 148-154; (c) Imitation at the octave, Measures 200-207, 1st Movement...... 43
7. Measures 387-390, 1st Movement...... 44
8. Nine-measure theme, 1st Movement...... 4 6
9. (a) Measures 223-227; (b) Measures 234-239; (c) Measures 16-21, 1st Movement...... 48
10. Interpretation of the first piano theme...... 51
11. Measure 100, 1st Movement...... 51
12. Pedalling in measures 123-134 ...... 52
13. Exercise in measure 2 2 3 ...... 53
14. Fingering in measures 337-338 and 341-342 ...... 54
15. First measure of Hummel's Cadenza...... 55
16. Fingering on long trills, Cadenza...... 56
17. Last measure of cadenza, 1st Movement...... 5 6
18. Theme, 2nd Movement...... 60
xiii Measures 9-15, 2nd Movement...... 61
First episode, 2nd Movement...... 62
Measures 24-27, 2nd Movement...... 62
Measures 46-50, 2nd Movement...... 64
(a) Measure 1; (b) Measure 39;(c) Measure 63, 2nd Movement...... 64
Measures 80-81, 2nd Movement...... 65
(a) Measures 20-23; (b) Measures 28-31, 2nd Movement...... 67
(a) Measures 43-46; (b) Measures 51-54, 2nd Movement...... 68
Measures 5 9-62, 2nd Movement...... 68
Interpretation of the theme, 2nd Movement.... 70
The turn in Measure 25 ...... 71
Pedalling in Measures 4 6-47 ...... 71
The theme, 3rd Movement...... 77
Variation 1, 3rd Movement...... 77
Variation 2, 3rd Movement...... 78
Variation 3, 3rd Movement...... 79
Variation 4, 3rd Movement...... 79
Variation 5, 3rd Movement...... 80
Variation 6, 3rd Movement...... 80
Variation 7, 3rd Movement...... 81
Variation 8, 3rd Movement...... 82
Measures 241-244, 3rd Movement...... 82
Measures 1-16, 3rd Movement...... 84
xiv 42. Measures 84-87, 3rd Movement...... 85
43. Measures 233-236, 3rd Movement...... 86
44. variation 1, 3rd movement...... 87
45. Variation 3, 3rd Movement...... 87
46. Measures 122-123, 3rd movement...... 88
47. Fingering of measures 128-135, 3rd Movement...... 89
48. Measure 250, 3rd Movement...... 90
xv CHAPTER I
INTRODUCTION
The concerto offers a composer the opportunity to combine the colors and powers of an orchestra with the expressiveness and virtuosity of a solo instrument. By the late 18th century, the piano had become a dominant solo instrument. Its ability to sustain complete musical thoughts without accompaniment made it in many ways the equal of the orchestra. Therefore, its union with the orchestra in the form of a concerto offered a plethora of possibilities for the composer. The solo concerto has a a special position in the genre of instrumental music. Performance of a concerto
is a great challenge for a soloist, who is required to present his/her musicianship with capable technique and ensemble skills, different from those required in solo performance. By Mozart's time the concerto was principally a vehicle of the performing composer. Mozart's concertos were
for the most part written exclusively for his own use.
In the later 18th century the concerto (Italian word
for concert) came to refer to a specific genre, namely a work for solo instrument(s) and orchestra, usually in three movements (fast-slow-fast). By the late 18th century and
1 2
4- . , during the 19th century, the solo concerto became a prominent form of virtuoso display for public concerts, a tradition that is still followed today. Countless solo concertos were written for a great variety of solo instruments. Among the various instruments, it may be said that the piano was employed as a favorite instrument for solo concerto by many composers. The piano, the supreme Romantic instrument, is one of the attractive instruments capable of producing a full sonority and various tone qualities at any dynamic level and able to respond in every way to demands for both expressiveness and virtuosity.1
Wolfgang Amadeus Mozart (1756-1791) is perhaps the greatest classical composer. His interest in the concerto form served to formalize the structure and establish the importance of the medium. Mozart's piano concertos hold a special place among his instrumental compositions. His 27 piano concertos are the finest examples of classical form and are among the most beloved of his compositions.
Mozart's piano concertos were written mostly for his own use at public concerts, emphasizing brilliance and virtuosity, with occasional profound expressions of melancholy in the slow movements to polish his abilities as a performer. Mozart, one of the finest keyboard players of his time, showed his constant experiments with the concerto form until the last year of his life. Therefore, his concertos, compared with those of his contemporaries or successors (Viotti, Hummel), reveal a composer for whom expressive beauty of melody were more important than obvious technical display.2
During the 19th century Romantic period, a distaste or rejection for classical attitudes and styles led to a neglect of the music of the 18th century. . Forman insists that for over a century Mozart's concertos were largely neglected by composers, performers and the musical public. Mozart's music was not the only music lost in this Romanticism-centered age,
for the masterpieces of the Baroque were equally neglected.
In the Romantic era, the piano was favored by most composers and performers. As piano manufacturers made constant mechanical improvements in the instrument, composers especially Beethoven, took advantages of these innovations and composed in various new styles incorporating the piano's
fullness of tone, wide dynamic range, and orchestral effects.
Elegant and sentimental style was explored by Chopin; dramatic, impressive and virtuosic music was composed by
Liszt; and lyricism was utilized by Schubert, Schumann,
Mendelssohn, and Brahms.3 Perhaps these Romantic compositions
are too abundant, impressive and sensual to attract
contemporary performers to the Classical style of the 18th
century. However, within the last 40 years Mozart's music has been recognized again, and they are being performed
frequently, usually with affection and skill. During the bicentennial celebration of Mozart's death in 1991, many concerts, symposiums, and festivals featuring Mozart's music were scheduled by musicians and scholars throughout the world. During the Mozart Festival at The Ohio State
University, May 9-17, 1991, concerts and master classes by
Mozart scholars inspired me to reconsider and research his m u s i c .
Musical and accurate performances require acquaintance with the style of the composer and the period when he lived.
Mozart's piano concertos reign supreme as classical compositions, serving not only as the best examples of the genre but also defining Classicism. Mozart's C minor piano concerto is considered by scholar/musicians to be one of his finest works and demonstrates his finest compositional powers.
In this document, I plan to explore the elements of classical concerto form and style defined by this concerto, based upon my experience in performing the work. Chapter I is devoted to a consideration of the background of the concerto. In an attempt to understand and recognize common characteristics of Mozart's works, I will present a historical summary of Mozart's life and structure of the concerto.
Chapter 2 provides information regarding literature and sources for the concerto, including a description of my research methods. 5
Chapter 3 contains a general analysis for each movement, including thematic characteristics, key relationships, structure, technical problems, and interpretation.
Chapter 4 lists my summary and conclusions, including recommendations for further study and performance.
BACKGROUND
Historical background of W.A. Mozart
Wolfgang Amadeus Mozart was born January 27, 1756 at
Salzburg. His father, Leopold, a professional musician, was a member of Prince-Archbishop's chapel of Salzburg and later became its assistant director. He was a composer and the author of a "Violin School" which achieved an international reputation. Leopold Mozart recognized his son's musical talent early and was devoted to promoting his young son's career and reputation.4 From childhood, Mozart's life seemed to be occupied with tours for concerts, which helped to influence his musical world.5 At the age of seven,
Mozart's first journey included Munich, Paris, and London
(1762-1766). He travelled to Vienna (1767-1768), followed by two journeys to Italy (1769-1771 and 1771-1773), and another tour to Munich, Augsburg, Mannheim, and Paris at the age of
19 (1777-1779).6 6
By the age of 5 (1761), the little genius had composed his first pieces, an Andante and Allegro for solo keyboard.
His first public appearance occurred in 17 61 at Salzburg
University with music by Eberlin. In Munich Mozart and his sister, Nannerl, played the harpsichord before the Elector of
Bavaria, and in Vienna, they appeared twice before the
Empress Maria Teresa.7
From 17 63 to 17 66, the whole family toured many
European cities, including Munich, Augsburg, Mainz,
Frankfurt, London, and Paris. These childhood journeys of
Mozart were rich in musical experiences.8 In Paris, he was interested in the music of Johann Schobert. In London he met
Johann Christian Bach and was excited by his music.9 Johann
Christian was the only member of his family to write in the new galant style and a representative keyboard concerto composer, writing about 40 of them. His influence was immediately reflected in Mozart's clavier compositions and symphonies which he began to compose at London.10 Mozart, aged 10, transcribed three of J. C. Bach's sonatas into a species of piano concerto (K. 107/21b) for his own use. It was hardly a concerto in the traditional sense, because the orchestra was no more than a pair of violins and bass. A visit to Vienna in 17 68 inspired Mozart's opera buffa, La
Finta Semplice and his German singspiel, Bastien und
Bastienne.11 7
In 1770, Wolfgang traveled with his father to Italy, where Count Firmian was their chief patron in Milan. This tour give him the main source of stylistic benefit at the time, particularly in opera, including Opera Seria:
Mitridate, Re di Ponto.12 Mozart was elected to the Milan
Philharmonic Society and enjoyed great success in Italy. He also studied counterpoint with the composer Padre Martini and met the famous castrato, Farinelli.
In 1773, he composed quartets K. 168-173 in Vienna and several symphonies (Salzburg symphonies), including K. 183 in G minor and K. 201 in A major. From 1774 to 1781, he mainly lived at Salzburg, where he became gradually dissatisfied with his life and the lack of musical opportunities.13 Finally, in 1777, he began a tour with his mother, visiting Mannheim, where he failed to secure a court post. At that time, he fell in love with a singer, Aloysia
Weber. While Wolfgang was in Paris in 1778, his mother died, and he returned to Salzburg. Although he had no major positions or commissions offered to him during this period, he seemed to grow as a composer. Like the journeys of his youth, this recent tour showed influence of the Mannheim style on his music.14 He composed important works for piano during the tour, producing piano sonatas and several variations. In 1779, he obtained the post as Court Organist at Salzburg. During the next year, he wrote Idomeneo and went to Munich to produce it. In 1781, Mozart quit the service of the Archbishop of
Salzburg, against his father's wishes. Mozart finally left
Colloredo's service and moved to Vienna, hoping to find a successful career as a freelance musician.
In Vienna, according to Grout, he composed the most immortal works during the last ten years of his life.15 In
17 82, he married Constanze Weber. At that time, his singspiel, Die Entfuhrung aus dem Serail, the main dramatic works of the Vienna period, was performed repeatedly. He also composed the "Haffner" Symphony, K. 385, and his first three Vienna piano concertos, K. 413, 414, and 415. The couple's first child, Raimund Leopold, was born in 1783.
However, when they travelled to Salzburg for Leopold to meet
Constanze after several delays, the baby died. Returning via
Linz, he composed K. 425, the "Linz" Symphony and became a
Freemason in 1784, when six piano concertos, K. 449, 450,
451, 453, 456, and 459 were composed. The composition of these works serves to indicate that Mozart was in great demand for concerts. His reputation as a composer and a pianist reached its peak around 1785, when three new piano concertos, K. 466, 467, and 482, were composed.16 During this productive period he also published six string quartets dedicated to Joseph Haydn and received accolades from Haydn.
In 1786, The Marriage of Figaro was premiered, and three piano concertos were produced: K. 488 in A major, K. 491 in C minor and K. 503 in C major. In 1787, he journeyed to Prague with Constanze at the invitation of Duschek for a performance of Figaro, which enjoyed great success. The "Prague" Symphony (K. 504) was performed there, where he received a libretto of Don Giovanni from Lorenzo Da Ponte and was visited by Beethoven. Leopold
Mozart, whom Wolfgang adored and depended upon, died on May
28. Despite his deep sorrow for the loss of his beloved father, Wolfgang was appointed chamber-musician and Court- composer by Joseph II to replace Gluck. In May 7, 1788, the first performance of Don Giovanni was given in Vienna, but it did not give him success like Le nozze di Figaro. He began to write letters to the merchant, Michael Puchberg of
Vienna, to plead for loans.17
In 1789, he journeyed to Prague, Dresden and Leipzig.
He also visited Potsdam and Berlin, agreeing to write some quartets for King Fredrich Wilhelm II (K. 575, 589 and 590).
There was a private performance at Mozart's house of Cosi fan tutte, attended by Haydn. He traveled unofficially to
Frankfurt to attend the coronation festivities of the new emperor, Leopold II, who succeeded Joseph II in 1790. His composition of piano concertos declined after 1788, and his final one (K. 595) was composed in 1791.(Refer to Table 1 for a list of his piano concertos.) A performance of La
Clemenza di Tito was given in Prague before an audience which included the Emperor. Returning to Vienna, he composed
Die Zauberfldte, which was performed successfully. Mozart 10 died in poverty on December 5, 1791, at the age of 35. His last work was the Requiem K.626, left unfinished at his death.
In 1862, Sir Ludwig von Kdchel published his
Chronological-Thematic Catalogue of the Complete Works of
Wolfgang Amede Mozart, compiling all of Mozart's works, numbers 1 through 62 6, in what he had understood to be an accurate chronological order. Revised and edited in varying degrees, the catalogue appeared in its sixth and current edition in 1964. In arranging a complete listing of Mozart's works for this year's bicentennial celebration at Lincoln
Center, musicologist Neal Zaslaw included all kinds of incomplete works, in addition to the known body of works, such as complete movements, fragmentary works completed soon after Mozart's death, recently discovered works, and second and third versions made by Mozart himself. According to
Zaslaw's list, compositions by Wolfgang Amadeus Mozart can number more than 800.18
Among Mozart's numerous works, some of the most famous include dramatic operas like Le nozze di Figaro, Don
Giovanni, and Die Zauberfldte; 23 of 27 piano concertos; and numerous symphonies, Masses, string quartets, piano sonatas, serenades and divertimentos. He must have been extraordinarily observant and impressionable, for everywhere he went, he seemed to be influenced by people and musical styles. Therefore, his mature music is favored for its 11 melodic beauty, formal perfection and richness of harmony and texture. This music was deeply influenced by Italian opera, though rooted in Austrian and south German traditions.19 In the late 19th century, interest in Mozart grew along with the general growth of interest in music of the past. Most writers tended to dwell on the purity, beauty, and sweetness of his music, viewing it in the context of Beethoven and the early Romantics.20
During the last decade of Mozart's life the fortepiano became the popular instrument which most professional musicians owned. Most of his mature keyboard works were played on the fortepiano and intended for it. Mozart's personal piano, designed by Anton Walter of Vienna, is as small as a single-manual harpsichord of five octaves, has the shallow fall of key which facilitates smooth and rapid playing, and appears to be without contrivances having the effect of the pedals.21 His opinion about the Stein piano action is expressed in his letter of October 17-18, 1777:
...Spath's claviers had always been my favorites. But now I much prefer Stein's, for they damp ever so much better than the Regensburg instruments... In whatever way I touch the keys, the tone is always even...His instruments have this special advantage over others, that they are made with escape action.22
His performing style was praised by those who heard
Mozart's playing. According to Hutchings, he used the sustaining pedal very sparingly, and the singing tone for 12 did not depend upon pedalling but had been cultivated in his
early days.23 In his letters Mozart often used the
expression "should flow like oil," and he advised his sister
not to spend much time in practicing dementi's chains of
sixths and octaves that make her playing "choppy."24
HISTORICAL BACKGROUND OF THE CONCERTO
Mozart's 27 piano concertos are listed as follows:
Table 1
A List of Mozart's Piano Concertos
No. Kochel Key Where, When composed Remarks
1-4 37, 39-41 Arr in 17 67 5 175 D Salzburg, Dec.,1773 6 238 Bb Salzburg, Jan.,1776 7 242 F Salzburg, Feb.,1776 For 3 pianos 8 246 C Salzburg, Apr.,1776 9 271 Eb Salzburg, Jan.,1777 10 365 Eb Salzburg, 1779-80 For 2 pianos 11 413 F Vienna, 1782-3 12 414 A Vienna, 1782 13 415 C Vienna, 1782 14 449 Eb Vienna, Feb.,1784 15 450 Bb Vienna, Mar.,1784 16 451 D Vienna, Mar.,1784 17 453 G Vienna, Apr.,1784 18 456 Bb Vienna, Sep.,1784 19 459 F Vienna, Dec.,1784 20 466 d Vienna, Feb.,1785 21 467 C Vienna, Mar.,1785 22 482 Eb Vienna, Dec.,1785 23 488 A Vienna, Mar.,1786 24 491 c Vienna, Mar.,1786 25 503 C Vienna, Dec.,1786 26 537 D Vienna, Feb.,1788 "Coronation" 27 595 Bb Vienna, Jan.,1791 13
The first four concertos, K. 37, 39-41, printed in the complete edition of Breitkopf and Hartel in 1879, are arrangements of sonata movements, mostly by minor German composers like Raupach, Honnauer, Ekert and Schobert, to which Mozart added orchestral tuttis and accompaniments.
The tutti part was limited to no more than a pair of violins and bass. These are not seriously regarded as piano concertos.
The next group called the "Salzburg" concertos by
Hutchings, are the first original piano concertos.25 The solo part is more embellished than in the earlier works and incorporates an orchestra, with pairs of oboes and horns as well as strings. Among these concertos, K. 271 in Eb has a larger scale and characteristics than the pre-classical concertos, regarded as the first of a new generation of more mature works.26
The series of 17 piano concertos that Mozart composed in
Vienna are probably his greatest achievement in instrumental music. They were written for concerts featuring Mozart as soloist, adding to Mozart's popularity in Vienna. These concertos utilize thematic richness and a subtle, highly developed relationship between soloist and orchestra, providing a body of music of exceptional quality and originality.27 Hutchings claims that "...the C minor concerto was not merely in advance of its age; it is also in advance of ours.1,28 The C minor concerto is one of only two 14 concertos in a minor key, the other one being the D minor (K.
466). The C minor concerto is almost as popular as the D minor concerto. Einstein explains the C minor concerto as follows:
There is a connection of a different sort with the Clavier Concerto in D minor, which shows Mozart's concerto form at its most dramatic. This C minor concerto is another one that is a little Beethovenish. But Mozart's C minor Concerto is superior to the one in D minor. It is symphonic rather than simply in dialogue form, and the use of the richest orchestration. The passion in this work is deeper.29
The piano concerto in C minor, K. 491, was finished on
March 24th, 1786, in Vienna. Mozart performed it in the
Burgtheater for the subscription concerts ("academies") of
Lenz, on April 7, 1786 (it was completed two weeks before).
The work was filed in Mozart's own catalogue as No. 36.
Certain obscurities remain in the manuscript of K. 4 91, which was obviously written in great haste and under internal strain.30 The autograph differs from most Mozart manuscripts in its large number of cross-outs and erasures. The piano notation is sketchy and crowded, with many crossed-out and corrected measures in subsidiary passages against thematic exposition in the orchestra.31
The C minor concerto was composed when Mozart worked on
Le nozze de Figaro (late October, 1785 to the end April,
1786, the most productive period of his life). The intense concentration on musical solutions for the complicated dramaturgy of this opera resulted in new approaches to difficult ensemble problems and unleashed a flood of creativity that found expression in a series of works written during this same time, each a unique masterpiece.32 At the time he composed the C minor concerto, he also composed the two piano concertos (K. 482 and 488), Maurerische Tauermusik
(K. 477), a violin sonata (K.481), two Masonic songs for chorus and organ (K. 483 and 484) , several insert numbers for operas-vocal quartet (K. 479), a trio (K. 480), a duet (K.
489), and a scene with solo violin (K. 490), numerous small pieces for winds, a rondo for piano (K. 485), and a comedy with music Der Schauspieldirektor. Even apart from writing
Figaro and the other works, Mozart had daily varied and busy schedules during the six month-period. He still taught pupils (including Thomas Attwood) , and there were guests who stayed in Mozart's home for weeks (such as the oboist Joseph
Fiala, with his pupil Andre). Mozart was in heavy demand as a performer. In these six months alone, he played or appeared as conductor in at least seven concerts.33
Beethoven had both of Mozart's concertos in his repertory during his piano-virtuoso years. He is known to have admired this concerto and is reported to have said to
Ries, his pupil, "Oh, my dear fellow, we shall never get any idea like this."34 Beethoven did turn up some similar ideas, for his own C minor concerto owes something to
M o z a r t 's . The C minor concerto belongs to a group of works (K.
482, 467, 488, 503, and 595) which Mozart's widow Constanze sold to J.E. Andri in 17 94. Andre published six concertos from the autograph manuscripts as posthumous works in his edition c.1801: "Six grands concertos, deditls au Prince Louis
Ferdinand de Prusse". The very next edition of K. 491 was published by Breitkopf and Hartel, Leipzig, No. 7, in 1802.
The piano score with a piano reduction of the orchestra was published by Steingraber, Leipzig, edited by H. Bischoff in
1887. The original manuscript survives at the Royal College of Music in London, where it is kept as No. 402,2 (No. 211 of
J. Andre's catalogue).35 17
REFERENCES
1. Donald J. Grout, A History of Western Music, (New York: W.W. Norton & Company Inc., 1980), p. 573.
2. Arthur Hutchings, "Concerto," The New Grove Dictionary of Music and Musicians, 6th ed., (London: Macmillan Publishers Limited, 1980), Vol. 4, p. 633.
3. Grout, op. ci t ., p. 573.
4. Ibid., p. 504.
5. John Gillespie, Five Centuries of Keyboard Music, (New York: Dover Publications, Inc., 1972), p. 166.
6. F. E. Kirby, A Short History of Keyboard Music, (New York: Schirmer Books,1966), p. 195.
7. Stanley Sadie, editor, The New Grove Dictionary of Music and Musicians, 6th ed., (London: Macmillan Publishers Limited, 1980), Vol. 12, p. 681.
8. Grout, op. cit., p. 504.
9. Ibid., p. 4 66.
10. Ibid., p. 505
11. Richard Baker, Mozart, (New York: Thames and Huston Ltd., 1982), p. 135.
12. Ibid.
13. Grout, op. cit., p. 507.
14. Sadie, op. cit., p. 696.
15. Grout, op. cit., p. 511.
16. Baker, op. cit., p. 136.
17. Sadie, op. cit., p. 710
18. Craig Kirchhoff, Program Note, Mozart Festival, The Ohio 18
States University, May 9-17, 1991, p. 3.
19. Sadie, op. cit., p. 680.
20. Ibid., p. 724.
21. Arthur Hutchings, "The Keyboard Music," Mozart Companion, (New York: The Norton Library, 1969), p. 33.
22. Ibid., p . 34.
23. Ibid., p. 33.
24. Emily Anderson, Letters of Mozart and His Family, (London: Macmillan, 1938), Vol.Ill, p.1267.
25. Hutchings, op. cit., p. 49.
26. H. C. Robbins Landon, The Mozart Companion, (New York: The Norton Library, 1969), p. 249.
27. Sadie, op.cit., p. 706.
28. Hutchings, op. cit., p. 163.
29. Alfred Einstein, Mozart, his character, his work, (London: Oxford University Press, 1945), p. 311.
30. Landon, op. cit., p. 231.
31. Henry G. Mishkin, "Incomplete Notation in Mozart's Piano Concertos," The Musical Quarterly, July 1975, p. 352.
32. Volkmar Braunbehrens, Mozart in Vienna, 1781-1791, (New York: Harper Perennial, 1991), p. 267.
33. Ibid., p. 268.
34. Donald F. Tovey, Essays in Musical Analysis, (London: Oxford University Press, 1937), p. 46.
35. H. F. Redlich, "New Light on Mozart's Pianoforte Concertos," Music Review, Vol. 9, 1948, p. 88. CHAPTER II
RELATED LITERATURE AND SOURCES
DESCRIPTION OF RESEARCH METHODS AND SOURCES
Numerous books have been published about Mozart.
Although there were few books of significant value about
Mozart in the 19th century, there has been an endless study of Mozart's life and music in this century. Vast sources are found in various contemporary documents. In this chapter, related literature and sources for Mozart's piano concerto will be discussed, including books, articles, documents, discography, and music editions.
One of the most important biographies, Mozart, His
Character, His Work , was written by Einstein, one of the greatest Mozart scholars, who presents his research and wide knowledge of the music of Mozart's contemporaries and of the social and political climate at that time.1 The other biography, Wolfgang Amadeus Mozart by Hussey, includes a concise chronological table of Mozart's life, his works, and contemporary events.2 Two other notable biographical sources
, The Life of Mozart by Holmes3 and Mozart by Baker,4 are recommended for the study of general biography and Mozart's compositions. A History of Western Music by Grout also
19 20 presents concise historical background and style of Mozart.5
No detailed study of Mozart would be complete without reference to the numerous letters and correspondence the
Mozart family shared. Today these are published selectively in a translation by Anderson as The Letters of Mozart and His
Family in three volumes. These volumes include a total of
615 letters, plus 16 letters by Constanze to the publisher
Johann Andre, who was anxious to get the manuscripts of
Mozart's unpublished works.6 This book was revised in 1966 by Alec Hyatt King and Monica Carolan in two volumes.
A good example of modern Mozart scholarship can be found in Sadie's article "Mozart" in The New Grove Dictionary of
Music and Musicians. The article includes a detailed biography, discussion of the music in 2 6 subsections with many important critical views, an index of his works arranged by genre, and a substantial bibliography. Under the heading "Orchestral music" (1785-88), Section 19, and subheading "Piano concertos" is a helpful discussion about
Mozart's piano concertos, including the C minor concerto.7
Several books discuss specifically Mozart's 23 piano concertos and single concerto movements. One example is
Girdlestone's Mozart's Piano Concertos, his own translation of his original French version published in 1939 under the title Mozart et ses concertos pour piano.8 This book is not limited just to the concertos but also examines their style and form in the context of the whole of the composer's creative life. Hutchings' A Companion to Mozart's Piano
Concertos discusses particularly the very subtle structural and melodic patterns in the first movements and movements in variation form. He discusses the similarity of the opening theme of Mozart's concerto in C minor to that of C.P.E.
Bach's concerto in F minor. On the other hand, unique characteristics of the C minor concerto are also mentioned with concise comparison with Beethoven's C minor concerto.9
Forman's book, Mozart's Concerto Form , concentrates on the analysis of first movements with a thematic index. He classifies the forms of the 23 concertos into Galant, Melodic and Symphonic types. He defines Mozart’s C minor Concerto as a Symphonic type which has a distinct and more complex form.10
Any player who wishes to appreciate the subtleties of
Mozart's piano works should study the book Interpreting
Mozart at the Keyboard, by Eva and Paul Badura-Skoda, which provides great detail about topics such as free embellishments, ornaments, tempos, cadenzas, and the sound and construction of the pianos of that era.11
Although there are many kinds of dissertations about
Mozart's works, a dissertation devoted particularly to his C minor concerto was not found. However, a 1985 dissertation by
Mercado, The Evolution of Mozart 's Pianistic Style, can serve as a reference. Mercado points out Dennerlein's 1951 study,
Der unbekannte Mozart: Die welt seiner Klavierverke, which takes as its point of departure a thorough stylistic 22 examination of the whole of Mozart's keyboard works within a chronological frame. Mercado takes a similar approach, examining the evolution of Mozart's pianistic style. He insists that the development of Mozart's pianistic style must be seen against the travels of his early years and the profound transformation of keyboard practice of the 18th century. During 1773-81, Mozart cultivated the piano genres,
solo sonata and ensemble sonata, smaller solo works, and the concerto, which were to occupy him in ever larger measure during the last decade of his life and can be observed as a totally developed pianistic style.12
Mishkin examines the concerto through Mozart's notation.
He discusses characteristics of Mozart's notation and formal
relations in the middle of the C minor Concerto, K. 491, which in full score showed the example of incomplete notation. The most familiar application of incomplete notation occurred in the cadenza, and all the shorthand devices were used in order to get a composition down on paper as quickly as possible. For example, Mishkin mentioned the
unisono or col primo violino directions for second violin or for second oboe when it doubles the first violin and the col basso direction for viola, bassoon, and solo piano. By writing col basso (abbreviated ColB or CB) in the lower staff of the piano part, Mozart shows that he requires the piano to play in the orchestral tuttis, defining the role of solo pianist who also served as conductor of the ensemble 23 from the keyboard.13 The author indicated another interesting aspect of the manuscript of K.4 91. The orchestral parts are rarely written with corrections or cross-outs, in contrast to the piano part which has numerous corrections. Mishkin suggests that the corrections were a result of variations in subsequent performance by the composer. Another possibility was the composer's attempt to prepare a legible autograph for publication, not for his own performance.14
Mozart's chromaticism is discussed in a 1978 article by
Meyer, who insists that Mozart's application of chromaticism determines the character and the form of the C minor
Concerto. The most chromatic part of the C minor concerto, aside from the opening theme is at its structural and emotional climax in the eighth variation into the coda. With detailed examples, he mentions that the most "pathetic" of
Mozart's piano concertos is expressed through the chromaticism.15
Another interesting article is John A. Mueter's "An
Unpublished Cadenza by Gounod for Mozart's Piano Concert, K.
491" in Current Music (1982) . The manuscript was purchased in London after the Second World War by the Washington State
University Library. It has remained almost 35 years labelled an "untitled piece for the piano by Charles Gounod" until
Mueter discovered and identified the work as a cadenza.16 He presents the historical background and musical 24 characteristics of this cadenza with his review. Also provided is his transcribed and edited facsimile of Gounod's
Cadenza.
Malcolm Bilson, who has recently finished recording all of Mozart's piano concertos on the fortepiano and is one of today's most respected Mozart interpreters, discusses period performance practice in application of the fortepiano in a
1989 article. He insists that the fortepiano allows the most accurate representation of Mozart's very precise notation of articulations from manuscript sources.17
Most record jackets provide information about the
structure and characteristics of each movement of the C minor concerto. Their brief explanations of the work are
informative, and often provide interesting information.
Notes by W. Bennet compare the characteristics and
concise comparison of Mozart's two concertos in minor keys, D minor K. 466 and C minor K. 491:
They are not "romantic" concertos, as they are sometimes called. The control and balance are classic. Interesting are the differences in form. The C minor comes closes among the concertos to giving the piano a titanic role, with highly pianistic themes. The D minor is more symphonic, with orchestra and piano having each their own characteristic motifs. The C minor ends with some of the most poignant music in all Mozart. The D minor moves from tragedy to a closing catharsis of joy in life.18 25
Note from the recording of Wilhelm Kempff, by an anonymous author, refer to the unusual characteristics of the C minor concerto.
In this C minor piano concerto almost everything is unusual, beginning with the significant role of the wind section, which includes both oboes and clarinets. Other uncommon features are the triple rhythm of the first movement and the variations in the Allegretto Finale.19
In the program notes for a performance of the concerto by the Cleveland Orchestra and Christoph Eschenbach, soloist,
Klaus G. Roy refers to the criticism of cadenzas written by
Brahms as follows.
When Christoph Eschenbach played the cadenza for the C minor Concerto with the New York Philharmonic in 1974, Harold C.Schonberg called it "Brahms's observations on the first movement.... a curiosity, and also wildly inappropriate to the music " He took exception to "sophisticated harmonies and a kind of piano layout that belongs to a different world from Mozart's." Be that as it may, the idea of having Brahms's "observations" on that work, even if stylistically jarring, is at the very least a stimulating one. One would assume that the distance between so late and daring a Mozart work and Brahms' musical language would not be as wide as that between some classical concertos and the cadenzas written for them in the twelve-tone technique by Artur Schnabel.20
There are numerous editions of many compositions, and it is difficult to choose an edition without adequate knowledge of performance practices or the credentials of the editor.
It is important to choose a reputable edition in order to 26
interpret as accurately as possible the composer's intent.
It is necessary for the performer to acquire information from
several editions, comparing both the full scores for orchestra with the piano reduction of the orchestral score.
The two-piano version is the most common ,and numerous editions exist. In all of these editions, there are various differences in the orchestral reductions. After 1920
complete editions of eighteenth century music began to become available. In the case of Mozart, abundant new sources of his works, both printed and in manuscript, were found. A new, definitive, complete edition became necessary, and in
1955 these began to appear as the Neue Mozart Ausgabe (NMA), published by Barenreiter, and edited by the International
Mozarteum Foundation in association with the cities of
Ausburg, Salzburg, and Vienna. Publication of his complete works was planned in 10 series, comprising 35 groups. Series
five contains concertos for one or more pianos and orchestra, with Mozart's cadenzas. Volume seven of this series includes piano concertos K.488, 491, and 503 edited by Hermann Beck.21
Other editions and publishers of the piano concerto, K. 491,
are as follows:
1. Groups, in pocket score: K. 271, 365, 4 50,
466, 467, 482, 488, 491,503, 537, and 595, edited
by Friedrich Blume (Eulenburg), 1936. 27
2. Groups, arranged for 2 pianos: K. 467, 482, and 491,
edited by Hans Bischoff, 1887 (Schirmer, New York,
reprinted from Steingraber, 193 9); Peters: K. 271,
450, 466, 467, 482, 488, 491 and 537, edited by
Edwin Fischer and Kurt Soldan, 1958.
3. Single works, in score; K. 491, facsimile of the
autograph (R. O. Lehman Foundation, Washington, DC);
K.491 by Hans F. Redlich (Boosey & Hawkes), 1948.22
Several editions of the C minor concerto are available, and I prefer the Schirmer edition over Peters edition for
following reasons:
1. The Peters edition indicates a general bass part for the soloist where the piano is not employed as a solo
instrument. In the preface, the editors mention that
Mozart's manuscript throughout demands the use of the term
"col basso"; however, the general bass part has been
incorporated into their edition.23 This edition helps to
show the piano's role as a continuo instrument in Mozart's concertos after 1775. The manuscripts of the concertos, such as that for the E flat concerto, K. 271 show that Mozart has almost always written "col basso" in the piano part or actually written out note for note into the piano part wherever the piano is not playing solo. A continuo or any form of figured bass is a way of outlining the harmonic rhythm, doubling the line of the basses based on the Baroque 28
concerto. That is why it can be indicated generally by
figures under the bass rather than by writing out the exact
notes.24 However, in the Schirmer edition, only passages in which the pianist has to support the bass are given in exact
correspondence with the autograph. In the Tutti the part in
question may be omitted.
2. The orchestral reduction in the two editions has
some differences in texture and rhythm, according to the
editors. The Schirmer edition shows an accurate orchestral
reduction.
3. While the Peters edition gives dynamics indications
to only the second piano part and general bass part for the
soloist, the Schirmer edition has dynamic markings in both
p a r t s .
4. In contrast to the Peter's edition, Schirmer's score
shows the pedal indication for the solo and second piano
p a r t s .
5. Schirmer's edition added the cadenza by J. M.
Hummel.
Because there is no original cadenza surviving for the
concerto, many composers and famous pianists have tried to
compose one. The most popular is still that of J. N. Hummel,
Mozart's favorite pupil. It was reprinted in the Steingraber
(Schirmer) edition. The only surviving cadenzas composed by
Mozart are for the works K. 175, K. 238, K. 246, K. 271, K.
365, K. 413, K. 414, K. 415, K. 449, K. 450, K. 453, K. 456, K. 459, K. 488, and K. 595. A selective list of cadenzas by numerous performers follows:
1. Paul Badura-Skoda: K.175, 238, 415, 449, 453, 466,
467, 482,491, 503, 537, 595 (Doblinger, Vienna), 1956.
2. Brahms: K.4 66, 4 91, in volume 15 of the complete edition (Breitkopf) , 1927.
3. Busoni: K.271, 453, 459, 466, 467, 482, 488, 491
(Breitkopf), 1918.
4. Viscount Anthony Chaplin: K.4 91 (Hinrichsen).
5. Faure: K.4 91(Pierre Schneider, Paris), 1927.
6. P. K. Hoffmann: K.467, 482, 488, 491, 503, 595, edited by A .Hyatt King, with Hoffmann's elaboration of the
slow movements (Hinrichsen), 1956.
7. C. F. Reinecke: K.37, 39, 40, 41, 175, 238, 246,
271, 365,415, 450, 466, 467, 488, 491, 503, 537, 595
(Breitkopf), 1973.
8. Saint-Saens: K.365, 482, 491 (Durand, Paris), 1900.
9. Friedrich Wiihrer: K. 467, 491, 537 (Doblinger) ,
1965.25 30
REFERENCES
1. Alfred Einstein, Mozart, His Character, His Work (London: Oxford University, 1945), pp. 429.
2. Dyneley Hussey, Wolfgang Amade Mozart (Freeport, New York: Books for Libraries Press, 1969), pp. 334-57.
3. Edward Holmes, The Life of Mozart (New York: E. P. Dutton & Co., 1921), pp. 379.
4. Richard Baker, Mozart (New York: Thames and Hudson, 1982) pp. 14 4.
5. Donald J. Grout, A History of Western Music, (New York: W.W. Norton & Company Inc., 1980), pp. 849.
6. Emily Anderson, The Letters of Mozart and His Family (London: Macmillan, 1966), pp
7. Standley Sadie, editor, " Wolfgang Amadeus Mozart," The New Grove Dictionary of Music and Musician, 6th ed., (London: Macmillan Publishers Ltd., 1980), pp. 680-752.
8. Cuthbert Girdlestone, Mozart 's Piano Concertos (London: Cassell, 1948), pp.
9. Arthur Hutchings, A Companion to Mozart's Piano Concertos (London: Oxford University Press, 1948), p. 161.
10. Denis Forman, Mozart's Concerto Form (London: Rupert Hart-Davis, 1971), p. 224.
11. Eva and Paul Badura-Skoda, Interpreting Mozart at the Keyboard (New York: St. Martin's Press, 1962), pp. 319.
12. Mario R. Mercado, "The Evolution of Mozart's Pianistic Style," The University of Rochester, Eastman School of Music, Dissertation Abstracts, October, 1985, 46: 835A.
13. Henry G. Mishkin, "Incomplete Notation in Mozart's Piano Concertos," The Music Quarterly, vol. 61, 1975, p. 349.
14. Ibid., p. 352. 31
15. J. A. Meyer, "Mozart's 'Pathetique' Concerto," The Music Review, vol. 39, 1978, pp. 196-210.
16. J. A. Mueter, "An Unpublished Cadenza by Gounod for Mozart's Piano Concerto,K.491," The Current Music, No. 34, pp. 26-41.
17. Mark S. Laporta, "An Interview with Malcolm Bilson," The Piano Quarterly, 37:19-23, No.146, 1989, p. 20.
18. S.W. Bennet, Music Notes, Mozart Piano Concerto No. 24 in C minor, K. 491, Denis Matthews and The Vienna State Opera Orchestra, conducted by Hans Swarowsky, Vanguard Everyman Classics, SRV-142 SD.
19. Anonymous, Music Notes, Concerto for Piano and Orchestra No. 24 in C minor, K. 491, Wilhelm Kempff and Bamberger Symphoniker, conducted by Ferdinand Leitner, Deutsche Grammophon SLPM 138645.
20. Klaus G. Roy, Program Notes, Piano Concerto No.24 in C minor,K. 491 by Mozart, Christoph Eschenbach and The Cleveland Orchestra, conducted by Rafael Kubelik, 1976, December 2, p. 435
21. Alec Hyatt King, Mozart (Hamden: Archon Books and Clive Bingley, 1970), p. 71.
22. James Friskin, Music for the Piano (New York: Dover Publications, Inc., 1973), p. 382.
23. Edwin Fischer and Kurt Soldan edit., Mozart' Concerto No. 24 in C minor, London: C.F. Peters.
24. Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (London: Faber and Faber Limited, 1971), p. 191.
25. King, op. cit., pp. 80-81. CHAPTER III
ANALYSIS AND PRESENTATION
INTRODUCTION
Mozart’s piano concertos have certain similar characteristics:
1. They contain three movements. 2. The first movement opens with an orchestral introduction. 3. The second movement is usually an "andante." 4. The third movement is generally in rondo style.1
His concertos in this scheme became the model form for
Classical concertos and influenced successive composers. The
C minor Piano Concerto K. 491 also consists of three movements: Allegro, Larghetto and Allegretto. The final movement is in variation form rather than the usual rondo form. The main tonal scheme for the three movements is C minor, E flat major, and C minor.
The orchestration of the concerto, has a unique character. This is the only concerto for which Mozart employed two clarinets with two oboes combined with strings, one flute, two horns, two bassoons, two trumpets, and timpani, creating the largest orchestra used for Mozart's piano concertos. This is the new kind of orchestration that
32 Mozart developed, representing his interest in woodwinds and
the character of the orchestra for piano concertos. It is
not a mere accompaniment, but an important coloristic,
formal, and melodic element. The first movement of the
concerto assigns important material, sometimes solos, to the winds in at least 150 of the 523 measures.2
FIRST MOVEMENT: ALLEGRO
The first movement of Mozart's piano concertos is in
ritornello form with an application of sonata principle. The
movement has four distinct sections. The first begins with a
long tutti (orchestral ritornello or exposition), at the end
of which the solo enters. This prelude, which serves as a
first exposition and contains the movement's main subjects,
finishes in the tonic key.3 The second section (solo
exposition), which begins at the solo's entry, corresponds
most closely to the sonata exposition, usually longer, which
ends in the key of the dominant or the relative major. Apart
from this double exposition, a concerto first movement
usually follows sonata form; the development comes next, then
the recapitulation.4
The following section, the detailed musical features of
the first movement are presented according to subsections of
form, melody, harmony, and technical characteristics. 34
F-orm
The first movement of the concerto can be divided into
four sections: the orchestral exposition in measures 1-99,
solo exposition in measures 100-282, development in measures
283-361, and recapitulation in measures 362-523. An outline of the first movement is presented in Table 2. 35
Table 2
Form of the First Movement
Section Label Measure Numbers Keys
Orchestral Theme I m. 1 27 c Exposition Transition 1 m . 28 7 c 2 m. 35 9 c Theme III m. 44 19 c I' m. 63 11 c Closing theme 1 m. 74 17 Ab-c 2 m. 91 9 c
Exposition Theme l(pf) m. 100 18 c I" m. 118 30 c Theme 2 (pf) m . 148 17 Eb Transition 3 m. 165 36 Eb Theme 112 m. 201 19 Eb Closing section m . 220 45 eb-F#-Eb Ritornello m. 265 18 Eb
Development Theme 1' (pf) m. 283 19 Eb-f Section 1 m. 302 28 2 m. 330 16 3 m. 346 8 Eb-c 4 m. 354 8 c
Recapitulation Theme I" m. 362 29 c Transition l1 m. 381 10 c Theme 112 m. 391 10 c-f 2 m. 411 17 c Transition 4 m . 428 16 c 2' m. 435 9 c Theme III m. 444 29 c Ritornello m. 473 14 c Cadenza Closing theme 1' m. 487 14 c 2 m. 501 8 c Coda m. 509 15 c The opening theme (12 measures) of the orchestral exposition is introduced by the strings and the bassoon in a soft dynamic level and confirmed with extended repetition and increasing volume. This is connected by the transformation of the main theme's motive in the strings and new melody in the woodwinds from m. 28, which is repeated three times toward the end in the dominant key. Then the oboe with other woodwinds softly take the main six-note motive and develop it into a bridge to the second theme in m. 35. The flute leads the second theme in the tonic key, a descending C minor scale melody with woodwinds in m. 44. The oboe then plays inverted form of its previous repeated notes and leap motive of m. 35 from m. 52. These soft and gentle themes are concluded by a new forte, after which the tutti returns, dominated by lower strings and bassoon in m. 63. The closing section is extended by repetition and sequence of chromatic descending and ascending figures from m. 74 and finally ends softly to welcome the piano exposition.
The new piano theme enters at m. 100 and meets the reappearance of the tutti. This soft theme, in contrast to the long and strong tutti theme, consists of a descending linear melody and leap figure with the rest in mm. 103-104,
107-108 and 109-110. The tutti's main theme from m. 118 is connected to the extension of the leap figure by the piano in m. 123. This transitional figure is further extended by a scale passage on the dominant of Eb pedal point in 12 37 measures. The piano second theme starts from m. 148 in the key of Eb major (relative major of C minor). Instead of continuing with a bravura passage by the soloist, it is repeated by the woodwinds. The entry of the piano omits the last notes of the theme in m. 165 and extends the transition by seven different sequences. A new theme in Eb major enters at m. 201 by the oboes and is passed down to the woodwinds and then repeated by the piano with slight variation. The piano arpeggios starts the closing section plunging into Eb minor with the melody of the first theme played by the flute in m. 220. The tutti then plays the conclusion of the exposition from m. 2 65.
The development is introduced by the solo playing the
Exposition's theme in the key of Eb major from m. 283.
The first subject of the tutti in F minor leads to the development which consists of various sequential passages.
It finally reaches the long dominant pedal point in mm. 354-
361 and increases the intensity of the return to the tonic key in the recapitulation. The development occurs in the orchestra, while the piano supports the principal idea in runs, arpeggios, and broken figurations.
The recapitulation begins with the first theme of the tutti marked forte, played by strings and brass this time from m. 362, and then by solo piano. Similarly, it follows at first the solo exposition. This passage has the codetta by the piano in mm. 381-386 and returns with the conclusion 38 which had followed in the first tutti in mm. 27-33.5 Without the closing, this passage now becomes a bridge to the second
theme of the solo exposition now in C minor. This theme
links with the piano second theme of the solo exposition
without any bridges in different order in m. 411. This meets the second theme of the tutti exposition from m. 435 through
the same transition in the woodwinds of the tutti exposition, to which Mozart now adds piano accompaniment. The final tutti with full dynamic force is extracted from the first
tutti exposition. After the cadenza, he uses the closing
theme of the tutti exposition in m. 490. The music drops to piano at the end for a solo entry like the the end of the
tutti exposition. He adds the solo to a coda in m. 509,
maintaining a tonic pedal point and ends with an unusual pianissimo. This Recapitulation combines all the important
themes of both expositions, but the solos are so much reduced
that only a small part of the solo exposition, the second
piano theme (17 measures) is repeated. Themes of the piano
exposition mainly reappear in the first half of the
Recapitulation in mm. 362-434 except mm. 381-390 of material
from the tutti exposition in mm. 27-33. For the rest of the
Recapitulation, Mozart uses the same process and themes with
the tutti exposition for the conclusion of this movement in
mm. 435-508, totally in 84 measures including 10 measures
from mm. 381-390. This first movement consists of 523 measures, which was considerably long for a movement at Mozart's time. The tutti and the solo exposition consist of 282 measures, with the
remaining 241 measures shared by the development, the
recapitulation and coda sections. Moreover, while a typical
Mozart piano concerto generally has two approximately equal
expositions, the piano exposition (183 measures) in the C minor concerto is twice as long as the tutti prelude (99 measures). I suppose that Mozart extends the solo exposition
section in which the development actually occurs, so that the
development section seems relatively short. However,
according to Mishkin's analysis, Mozart achieved balance and
symmetry in this movement. The outer sections (261
measures), 99 measures of prelude plus 147 of recapitulation
and 15 of Coda, balance almost exactly the two inner sections
(262 measures);183 measures of exposition and 79 of
development.6 The same closing theme used to conclude
both the orchestral exposition and the recapitulation in mm.
35-99 and 435-508.
MelO-dic_Charact eristics
The first theme (Fig. 1), played by strings and bassoon
in unison dominates the entire movement with various rhythmic
and melodic figures. This theme is not symmetrical like most
classical themes, but is a continuous development type, with
a clearly shaped opening and sequential passage. The theme 40 uses tones of the tonic triad, but Mozart uses Ab for the third note, avoiding completion of the triad, as most other composers of his time have done.7 This Ab chromatically goes to F# through the dominant of C minor. Although this F# implied resolution to G, Mozart again shows unexpected resolution by leaping up a diminished seventh to Eb . This unusual melody process in Mozart’s music created an ambiguous atmosphere.8
E I a ------, r— b
Sun. Str. -0-- a — Tip-— ^ bj - [ t > ■ S+b 4- T - L^J-l— j. k-r-
Oi.Kl. a = 5 = • i Hm. WiP
Figure 1. First theme, 1st Movement.
The second phrase (b) of theme is used as basic material for a great part of the movement. Its transformations are diverse throughout the movement, for example, by inversion
(mm. 29-34), inverted leap figure (mm. 91-93, 190-193, 265-
273) and transformation (mm. 123-134, 309-315, 355-361). By 41 the end of the 12th bar, the chromatic motion (c) creates an atmosphere of tension.9 In the second transition section, the oboe theme consists of an ascending chromatic scale (Fig.
2, mm. 35-40). A similar descending chromatic motion already appeared in mm. 12-21 for the lower strings and bassoons.
The first part of the closing theme is also formed by an ascending chromatic scale (Fig. 3, mm. 74-87) .
r — • F H* ^rz f f = M tf— 7 p
k f h m \ i x £r ^--- BsSn.
Figure 2. Transition 2, Measures 35-40.
ci.
Figure 3. Measures 80-87, 1st movement.
The piano begins with new thematic materials at m. 100
(Fig. 4) and then introduces another new theme at the beginning of the second subject section. These piano themes, contrasted to the tutti, show the beauty of expressive 42 melody. The piano theme consists primarily of sequence and
repetition. The second piano theme consists of the
repetition of the smaller units (Fig. 5). After the entrance of the piano, the main theme reappears in the orchestra (m.
118) and is developed by the piano. The piano never plays the beginning of the main principal theme, nor does the
orchestra use the piano's opening material, except at the beginning of the development for a brief interjection in measures 291-292.
100
^ — * t LZ » —wss i,, h > I — tg t t :r^H J.
— 7 " Ttir — rtit— 3h. . -— --- ^mf
Figure 4. Piano theme 1, 1st Movement.
IK-6
Figure 5. Piano theme 2, 1st Movement.
Mozart often deals with a fragmentary melodic line in this movement that leads to an irregularity of the phrase. 43
The main secondary themes repeat theme fragments as a kind of mosaic. Rosen suggests that this insistent repetition of the
smaller units is unusual for Mozart .10
(a). Imitation at the octave (mm. 44-50).
IH-8 . r‘ r c> >t — FT** -- 1Ft=pf( 7 ^ 1 * r f > y v _L t. = -S31t L y y .u, J.M- m m
(b). Immediate repetition (mm. 148-154).
(c)
Figure 6 . Imitation at the octave (mm. 201-207) The long chromatic scale passage scored for piano and
strings (Figure 7, mm. 387-390), forms the bridge between the first and second themes in the recapitulation. This passage consists of an ascending chromatic scale of a complete octave, supported by a dominant pedal. The second piano theme of the solo exposition in Eb major reappears in the
recapitulation in C minor. Mozart transformed the melody of the latter part of this theme with the chromatic ascending
scale in measures 415-419.
Figure 7. Measures 387-390, 1st Movement
The solo part of the transitional section, consists primarily of running 16th note passages. It varies with patterns of scale, arpeggio, broken chord figure and Alberti bass. In the coda, the piano joins the orchestra in the final bars, with a series of arpeggios, while the orchestra continues the last allusion to the main theme. 45
The main theme is applied throughout the first movement utilizing unusual leap figures and chromaticism to create tension or resolution in the minor mode.
Hamiony.
Mozart rarely wrote in minor keys, which he reserved for special emotional significance. His choice of C minor places this work in an impressive series of compositions in which
Mozart tried that key as his "tragic" tonality.11 His few works in C minor include Serenade, K. 388, Fantasia, K. 475,
Piano Sonata, K. 457, and the Piano Concerto, K. 4 91.
The first movement generally follows the ordinary harmonic structure of the concerto as shown in Table 2. He retains the tonic key throughout the orchestral exposition, modulates to the relative major key, Eb major, in the solo exposition and returns to the tonic key, C minor, in the recapitulation. In this harmonic scheme, Mozart varied closing sections with modulations in the orchestral exposition and solo exposition. Especially in the closing section of the solo exposition, the relative major key, Eb major, shifts to Eb minor, F# major, and Eb major.
The main theme begins with the unison until measure 8 , and is then harmonized with a chromatic melody by the oboe.
The main theme (mm. 1-9) appears as a bass theme (mm. 63-71) and at mm. 473-481 is combined with a chromatic melody.
This theme also uses a chromatic bass melody in a similar 46 harmonic structure in mm. 13-21. This common nine-measure theme shares the same harmonic structure and is dominated by a sequence of diminished seventh chords.
A lle g ro
atr.
i i VI i v ii'/v i
Figure 8 . Nine-measure theme.
In regard to the diminished chords, Rosen states that,
The series of diminished chords in the opening statement of the main theme clearly presage and justify such a development, subsequently bringing a passion, even a kind of terror, that is central to the w o r k .12
Moreover, whenever the nine-measure theme is repeated,
it has a different cadential process according to each function. For example, the first theme has the perfect authentic cadence overlapping the repeated theme in m. 13.
The repeated theme in m. 13 which is connected to the transition ends by the half cadence in m. 34. The next one from m. 63, uses a deceptive cadence to link it to the closing section. 47
In contrast to the main theme which has the harmonic
sequence of a diminished seventh chord, the second theme
repeats twice the simple harmonic progression of I and V7 in mm. 44-51. Then it is prolonged by the circle of 5th harmonic
sequence of secondary dominant in mm. 52-56. The harmonic
characteristics between the two themes also applies to the
piano themes. The first piano theme is harmonically occupied
by the half diminished seventh chord, ii7, and diminished
seventh chord, vii7 in mm. 100-118. The second piano theme
repeats twice the melody on I and V7 in the dominant key,
emphasizing the dominant key with a long pedal point in mm.
148-151. Further, the transition section after the second
piano theme in mm. 165-200 connects the new theme in the
relative major key, Eb major. Harmonically, it consists
mostly of major triads and sequence of secondary dominants.
This passage connects the new theme in m. 201. In the
recapitulation, the order of the themes is changed. Before
the second piano theme, the new theme appears. The
transition after the second piano theme from m. 428, returns
to the second theme of orchestral exposition. This
short transition in mm. 428-443 consists of the harmonic
sequence of a diminished seventh and tonic. Because it is in
the tonic key of C minor, it is similar in character to the
orchestral exposition.
In the closing section, various sequential passages are
used to extend the harmonic progression, especially the 48 harmonic sequence of diminished seventh chords. For example, mm. 223-227 and 234-239 in the closing section of the solo exposition, shows the series of diminished seventh chords on the descending chromatic bass line. This idea is used earlier in the main theme at mm. 16-21 (Figure 9).
jr $ a M
virt/v v iij/v
(a). Measures 223-227, 1st Movement. I
viityii viil/V VUl/V i
(b). Measures 234-239, 1st Movement.
vii’t/v vii*7 v«V'v vii'/vn vru i£ (c)
Figure 9 . Measures 16-21, 1st Movement. 49
In this closing section of the solo exposition, an Eb minor region implies a miniature development, with several measures of alternation between the F# chord and its dominant seventh, followed by a series of diminished sevenths that eventually resolve to an Eb series in measure 241. An unusually long cadential passage in mm. 241-64 then re establishes Eb major as the secondary key-center of the exposition.13 The development section is also occupied by sequential progressions with running piano passages employing scales and arpeggios. Especially, in the key relationship, the circle of fifth harmonic sequence is discovered at the return of the tonic key in the recapitulation. It begins in
Eb major and modulates to F minor in m. 293. From m. 307, a part of the main theme continues to modulate:
Measure: 307 311 313 315 317 319
Key: gm cm f m Bb Eb Ab
This sequential passage, through the G minor solo passage in mm. 324-32 9, is connected to the dominant sevenths sequence with alteration between the tutti and solo in mm. 330-34 6 .
The long dominant pedal point of the tonic key (G) is used to return to the tonic key in mm. 354-361. The pedal point is also used in the transition between two piano themes in mm.
137-145. The use of pedal point to extend harmonic progression is finally used in the coda with piano to 50 emphasize the tonic key.
Technical Characteristics
Mozart was a gifted pianist and composer, and his piano works "lie well" under the fingers. He was, however, not attracted by virtuosity, and tended to avoid unnecessary technical difficulties. Simplicity is an important character of Mozart's writing and can be a major problem for performing. "The hardest thing is to be simple" is a saying particularly applicable to Mozart's music. In the following section, proper stylistic performance and suggested solutions to technical problems are discussed.
The first movement Allegro is presented in triple meter,
3/4. The tragic C minor concerto however, would lose much of its expressive depth if taken too quickly.14 The suggested tempo is J =132-144.
A pianist must be in control of his fingers when he plays Mozart's single melodic lines legato, cantabile, and expressively. The first piano theme of the concerto also requires this control. One of the ways to effect true legato playing is through conscious dynamic graduation support, since every note in a graded dynamic process is helpful to express its own degree of intensity. Here articulation with dynamic mark of the first piano melody in C minor concerto is introduced (Fig. 10). 51
Figure 10. Interpretation of the first piano theme
An octave appoggiatura is used in the first piano theme which Mozart often used as an anticipation.15 The following interpretation is recommended:
„| jTf I-, j I T jTj^.p
Figure 11. Measure 100, 1st Movement.
In order to produce the warm, gentle tone and legato of the octave appoggiatura tenuto, the hand should be prepared with the octave position and the touch is controlled around the fifth finger for the tenuto note. 52
In the transition part, part of the piano theme is developed with the repetition which has a wide leap figure.
This is too wide to perform and control smoothly. For a smooth connection, use of shallow pedalling is necessary
(Fig. 12). In addition, each second note of the leap figure should be controlled very carefully to avoid excessive loudness or harshness.
Figure 12. Pedalling in measures 123-130.
Expressive legato playing is required for the second piano theme. Its texture consists of single melody and broken chordal accompaniment, requiring, therefore, careful treatment of dynamic balance.
The left hand must be well-controlled to produce soft and even sounds for clusters of two or three notes. The fingers of the left hand, supported by a level wrist, should depress the keys as gently as possible.
In addition to lyrical simple melodies, a distinctive
Mozartian pianistic style includes passages with running scales and arpeggios. In this movement, passage work dominates most of the transitional and closing sections
sequentially with simple accompaniments provided by single notes, octaves, or Alberti bass. For these passages, one's touch should be clear, sparkling, and even. Lightness of touch is also important because present-day pianos have a
fuller sonority than pianos of Mozart's day. To play scales and arpeggios without bumpiness, flexibility of the wrist and
quick reactions in passing the thumb under are essential.
The best position for the hand in playing scales is a
"diagonal" one, namely the arm is held at an acute or obtuse
angle to the keyboard and the elbow should move ahead of the
fingers.16 At this time, the arm and wrist are slightly pushed according to passage direction. Exercises for preparation of the next note and fast turning of thumb are
suggested in Figure 13:
Figure 13. Exercise in measures 223.
To further develop even and light running scales and
arpeggios, the pianist needs to practice various rhythmic exercises. The dotted rhythmic pattern is one of the most beneficial exercises to develop such finger control, when
also practised with dynamic and tempo gradations. For soft 54 volume, a high wrist position should be used, while a lower wrist position is suggested for louder volume.
It would be absolutely wrong to play all arpeggio or
scale passages with pedal, it would make the sound far too
thick. However, passages in broken chords over several
octaves in m. 332 and sequence, should play forte and with
pedal. It is the dramatic climax of the first movement,
where the piano opposes the entire orchestra. On the other
hand, this arpeggio passage is played by crossing hands.
Because it is difficult to play the last chord with the
right hand precisely in time, one should consider using the
left hand on the last note of the arpeggio and the tenor note
of the chords (Figure 14, mm. 337-338, and 341-342).
L.H.
Figure 14. Fingering in measures 337-338 and 341-342
Mozart mostly favored one type of virtuoso passage for
long legato slurs in cadenzas, i.e. rising chromatic scales
in quick tempo. In Hummel's cadenza begins with a long scale
and is written in a five-octave register with dramatic
crescendo and accelerando, requiring strong technic by the 55
performer (Fig. 15). For this passage, the performer should practice various rhythmic exercises and groups of notes from
two notes to nine notes around the key G. Also it is helpful
to control the accelerando around the repeated G toward the
climax G in the second measure.
Figure 15. First measure of Hummel's Cadenza.
This cadenza has a long chain of trills in the middle part to
make the climax. It is technically difficult to play the
long trill especially with a crescendo. Although hands get
tired and tense easily without relaxation, the trills must be
even. Proper fingering is necessary to release tension of
finger and wrist. To perform a trill loudly, it is helpful
to make the entire hand shake slightly to add power to the
trill. In the last part of Hummel's cadenza, he uses an 11- measure trill on the same note. It is also advisable to
change fingering according to individual preference, whenever the fingers tire from the initial fingering. 56
Figure 16 Suggested fingering on long trills, Cadenza
This cadenza ends with the descending long C minor scale which starts on the topmost register of the modern piano, a
register that did not exist in Mozart's day. Thus, Badura-
Skoda recommended playing the right hand an octave lower than written.17
JT
Figure 17. Last measure of cadenza, 1st Movement.
SECOND MOVEMENT; LARGHETTO
Mozart's slow movements in his piano concertos demonstrate a variety of forms and conceptions. They are in binary sonata-form, the extended aria-form, or several sets 57
of variations like K. 450, 456, and 482. The later
concertos, K. 466 and 491, have Romance or Romanza in rondo
form with a less tranquil second episode.18
The second movement of the C minor concerto, provides
contrast and relief to the serious and dramatic first movement. This slow movement, according to Einstein's often- quoted phrase "moves in regions of the purist and most moving tranquillity," and is simple in form and mood .19 This movement is in rondo form, which is the common finale to
concertos in Mozart's day. Mozart may have chosen this form
for the slow movement because the variation form is reserved
for the final movement. Orchestration in this movement employs all instruments except trumpets and drums.
EjOXID
The formal structure of the Larghetto is simpler than that of the Allegro movement. It is in rondo form with two
episodes and coda (A, B, A', C, A). The outline of the
second movement is presented in Table 3 as follows. 58
Table 3
Form of the Second Movement
Section Label Measure Numbers Keys
A a . solo, repeated tutti 1 8 Eb b . solo with strings 9 7 Eb a . solo, with woodwinds 16 4 Eb
B c. flute, oboes,bassoons 20 4 Cm c' solo with strings 24 4 d. same woodwinds 28 4 d’ solo with strings 32 4 transition, solo 36 3
A' a. solo, with woodwinds 39 4 Eb
C e . all woodwinds 43 4 Ab e 1 solo with strings 47 4 f . same woodwinds 51 4 f ' solo with strings 55 4 transition, tutti 59 4
A a. solo 63 4 Eb b. solo with strings 67 7 a. solo, with woodwinds 74 4 Coda, solo and tutti 78 12 59
The rondo theme which is simple and symmetrical three- part song form, always begin with the soloist. Four measures
of solo melody is repeated by the orchestra. The second part
is performed by the solo with an accompaniment in measures 9-
15. The first solo theme appears again for a conclusion
where woodwinds accompany alternate measures.
The rondo theme in E-flat major is connected to the
first episode in C minor performed by flute, oboes, and
bassoons in mm. 20-23. It has a variation by piano, with
accompaniment of strings in mm. 24-27. This pattern
reappears in the next phrases in mm. 28-35, and another new
melody is introduced by woodwinds with a variation by piano
and strings, as before. This first episode in C minor
returns to the rondo theme in E flat major in m. 39 with a
short solo transition. At this time, the rondo theme,
reappear only at the end of the first section, and the second
episode in A flat follows immediately.
The second episode has similar characteristics to the
first one. It is performed by clarinets, bassoons, horns and
flute in mm. 43-46 and consists of a variation by piano, with
strings accompaniment in mm. 47-50. Like the first episode,
it contains the other transformed phrase of the former theme
by woodwinds and a variation by the piano as before. At the
end of this second episode, the orchestra has extra phrases
without solo to link the rondo theme in mm. 59-62. In the
coda, new thematic ideas are used, but imitative material for 60 solo and all sections of the orchestra are found.
Malodi-c,-,. Characteristics.
The theme in four measures of the second movement is simple in structure, using a repeated two measure unit (Fig.
18). It is at first sight symmetrical, but in reality, its fourth measure has an element of surprise.20 The first two measures consist of a rhythmical motif and a melodic one.
However, in the last measure, instead of the expected melodic phrase, it has a repeated and rhythmical measure. This is repeated by the orchestra in the next four measures, providing dynamic contrast between the first and third measures, and the second and fourth measures.
Larghetto H a
Figure 18. Theme, 2nd Movement
The strings accompany the solo in the second part of the rondo theme (Fig. 19, mm. 9-15). The melody has sequential repetition with simple rhythmic pattern. Mozart is dealing here with a repeated fragmentary melodic line that forms an 61 irregularity of phrase. This insistent repetition of the smaller units without any embellishments is unusual for
Mozart. A very brief cadenza must be inserted at fermatas, because the melodic outline makes no sense in the context of
Mozart's style without a bridge.21 Hummel embellished this with trills and a sequential passage.
r err f f iffrrhmf frf
Figure 19. Measures 9-15, 2nd Movement
The rondo theme connects the episode by woodwinds in the relative minor key (C minor) without transition (Fig. 20).
This episodic theme features an elegiac melody, with rising arpeggios played by flute and piano. The melody played by the woodwinds is followed with a variation by the piano with strings accompaniment. While the rondo theme is simple, the first episode is embellished with arpeggios, scales, appoggiaturas, and turns. 62
20
Figure 20. First episode, 2nd Movement
For this embellishment, the first episode is dominated by the
32 note rhythmic unit (Fig. 21, mm. 24-27). Because of this small rhythmic unit, the mark of alla-breve is sometimes regarded as Mozart's mistake by many writers. Badura-Skoda
insists that no such smallest figuration as that in measures
24-25 ever occurs in other concertos containing the alla- breve movement. The note values in this movement correspond to notes twice as long in alla-breve movements. Thus,
Badura-Skoda recommends that this Larghetto should be felt and played in 4/4 meter .22
Figure 21. Measures 24-27, 2nd Movement 63
Without transition, the first episode continues other repeated phrases from measure 28. This phrase starts with a double-note melody and contains a sequential character. Its rhythmic pattern and ornamented character are similar to those of the first phrase. When the piano plays a melody previously performed by wind instruments, it is again embellished slightly. The piano passage in measures 36-38, which has a long embellishment passage in 32nd-notes, links to the rondo theme. At this time the rondo theme from the end of the first section is repeated and directly connects the second episode by the woodwinds.
The second episode from measure 43 is similar to the first one (Fig. 22, mm. 46-50) . Both episodes contain two four-bar phrases, which are played by the winds and repeated in varied from by the piano. This second episode consists of stable 16th-note rhythmic figures. In the accompaniment part, a repeated note pattern is used. Instead of various ornaments, the clarinet melody rhythmically consists of two
16th-note units transposed one step down, and the piano part is discreetly ornamented when it repeats the theme. While the first episode has sequential passage, this one repeats melodic fragments in measures 44-45, 48-49, 52-53, and 56-57 to prolong the melody. 64
4-fe ■1, W f,-_---- f — _Z----rWf fflfH
f t \ L t t — y] •0" y "• - -1?— T*w -if-
Figure 22. Measure s 46-50, 2n d Movement.
With all its simplicity of manner, this movement shows some subtle details. For example, the first bar of the rondo theme appears in three different rhythmic changes, and on one occasion the rhythm of the third bar is also changed (Fig.
23). There are also variations in orchestration. At the last appearance of the rondo theme from measure 74, the piano theme is richly scored with the unison passage with winds, which often occurs in Mozart's later works.23
m n u he
| .$ = : & = <
1 \
(a) (b) (c)
Figure 23. (a) Measure 1;(b) Measure 39; (c) Measure 63, 2nd Movement. 65
The coda begins with two 16th-note units and repeated note accompaniment derived from the second episode and combines with the 32-note tonic scale played by the flute.
This theme is repeated exactly and meets the simple solo melody in measure 80, changing to 8th-note rhythmic figures
(Fig. 24). This theme consists of syncopations with melodic leaps and dotted passing notes. This coda theme again has variations like two episodes before. The piano introduced an ascending scales figure which crosses with the woodwinds descending melody. It ends softly with a short arpeggio passage reminiscent of the end of the first movement.
Str.
Hrn.
Figure 24. Measures 80-81, 2nd Movement.
Harmony
The larghetto movement contains simple harmonic characteristics, combined with an innocent melody and formal 66 structure. It is in Eb major, the relative major key of this concerto, and the first episode passes into C minor without transition. Through the four measures of refrain in Eb major, it again plunges into the warm, relaxing atmosphere of the subdominant, Ab major .24 The refrain and coda in the tonic key bring this movement to close.
The restful rondo theme is supported by the simple harmonic progression: I V I V 7 I. The middle section of the refrain also consists of repeated dominant and tonic progression. This simple harmonic progression with the plain melody is contrasted with the first episode in C minor, which is slightly elaborated by diminished seventh passing chords.
The first section of the episode modulates to G minor and ends with a perfect authentic cadence in G minor, repeated with varied rhythms and orchestration. Without transition, it returns to the second phrase in C minor in measure 28 through the harmonic sequence of tonic-dominant seventh around the pivotal Eb major chord which is the submediant of
G minor, also mediant of C minor. Finally, it concludes on the perfect authentic cadence in C minor. Thus this episode in two repeated four-bar phrases is harmonically related
(Fig. 25). 67
§ p | w
Cm: I vi I lit "V Qm: viij lb lit i X V, i
(a). Measures 20-23, 2nd Movement.
Cm: TSL Hfc VJ (b)
Figure 25 . Measures 28-31, 2nd Movement
The second episode is continued in Ab major without a transition, and also has similar harmonic characteristics as the first one. The first phrase is modulates to Eb major, ends with the perfect authentic cadence, and is repeated
(Fig.26). It connects other similar phrase like the first episode, starting in Bb minor mode and immediately returning to Ab major. (a). Measures 43-46, 2nd Movement.
/
1 (
AbM: Vyfi ii V$ I u 71 Ifc 7} 4 viV/ft iifc iiVJ I (b)
Figure 26 . Measures 51-54, 2nd Movement.
This second episode links to the refrain with tutti transition. This four-measure transition starts with minor mode and goes back to Eb major, using pedal point of dominant of tonic (Fig. 27).
Figure 27, Measures 59-62, 2nd Movement. 69
The coda contains the new theme in the solo part in measure 80 which mainly contains the harmonic progression, I6 ii6 i| V 7 I, often used earlier for the cadences of episodes.
This progression is repeated for the conclusion. Thus, the rondo theme and two episodes are contrasted to each other through a harmonic progression. On the other hand, Mozart varied two episodes as well as two similar phrases in an episode with harmonic progression in the different key relationship.
Technical Characteristics
The second movement of Mozart's piano Concerto demonstrates more beautiful melodic and lyric characteristics in slow tempo than the other movement. Further, it can be the best part for pianist to show his accurate and sensible pianism. The second movement also requires very expressive melodic playing and various tone colors and mature musicianship.
This larghetto movement should be played at a tempo J = c. 52-56. The rondo theme begins with solo alone, and must always be played in strict tempo. Moreover the performer should be careful to play the 16th-note accurately after the dotted 8th note. The accompaniment with rich chordal textures has to provide a proper and even balance for the simple melody. At the end of measure 2, inner voices should be treated very gently and with accurate rhythmic duration. 70
In measure 4, repeated notes also should be played evenly and calmly.25 The detailed dynamic suggestions are helpful in building expressive interpretation.
Figure 28. Interpretation of the rondo theme.
In the second part of the melody, solo and accompaniment have to begin together with visual contact naturally after the pause. Repetition of the simple motive should start softly to build a considerable crescendo up to the pause.
After the pause there should be a short lead-in.
Because Mozart's lead-in is unavailable, many pianists and composers created their own. Bischoff recommends the Hummel version one in the Schirmer edition,.which sounds tasteful and proper for Mozart's style. In playing any lead-in, the end should performed with ritardando to allow correct entrance by the orchestra.
The episode is different in taste and feeling from the refrain, containing a detailed ornamental character. In measure 23 the piano should anticipate the volume of the tutti with a slight crescendo in the chromatic scale. This 71
episode must be played with singing tone produced by finger pads, combined with the sensation of "pulling" the keys. All
arpeggios should be played very expressively, and it is
suggested that turn in measure 25 be played as follows:
Figure 29. The turn in measure 25.
In measure 26, the arpeggio of 32nd-notes should be
played lightly and delicately without interrupting the main
melody. Therefore, the first note of each arpeggio should
start softly after the long sustained note.
The solo entry of the second episode consists of two
pairs of slurred notes. One should neither make too much break between the two pairs, nor accent the repeated note.
For a smooth sound, it is effective to use quick pedal to produce connecting and ringing tone quality (Fig. 30).
m
Figure 30. Pedalling in measures 46-47 72
In the coda, the closing measure should be played softly with light and even touch, which can be produced with an up- wrist position. This ending should be treated as a diminuendo, rather than emphasizing a ritardando.
THIRD MOVEMENT: ALLEGRETTO
The common form for the finale in Mozart's day was the rondo. However, he used variation form for the finale of this concerto. Girdlestone insists that Mozart dislikes completely minor rondos. He has left only three, found in his sonatas. Elsewhere, in minor works, he employed the fugue, the sonata form, or variations.26 Moreover, the most common way of beginning the finale of a concerto is for the main theme to be played first by the soloist (accompanied or unaccompanied) and then "forte" by the orchestra. In the few concerto where Mozart does not employ this effect, he writes a set of variations for the finale in only two concertos, K.
453 and K. 4 91 in which the piano first appears to decorate the first variation.
Form
The Allegretto consists of the theme and eight variations. Variation 1 has double bars; 2-6 are in double variation form; 7 is a single one, without repeats; and the last one, 8 is in a different meter (6/8) and is followed by a long coda. The overall form is presented in Table 4. 73
Table 4
Form of the 3rd Movement
Section Label Measure Phrase Keys Lencrth theme a+b, tutti 1 16 Cm
Variation 1 a'+b', piano+strings 17 16
Variation 2 al, woodwinds(f1,ob,cl, fg) 33 8 Cm a2, piano+ strings 41 8 bl, woodwinds 49 8 b2, piano+strings 57 8
Variation 3 al, piano 65 8 Cm a2, tutti 73 8 bl, piano 81 8 b2, tutti 89 8
Variation 4 al, c l .f g .co r . 97 8 AbM a2, piano+strings 105 8 bl, same winds 113 8 b2, piano+strings 121 8
Variation 5 al, piano 129 8 Cm a 2 , piano+Strings 137 10 bl, piano 147 8 b 2 , piano+strings 155 10
Variation 6 al, woodwind+vlc,cb 165 8 CM a2, piano+strings 173 8 bl, same woodwinds 181 8 b2, piano+strings 189 12
Variation 7 al+bl, strings+piano 201 20 Cm
Variation 8 al+a2, piano 221 16 Cm coda, piano+tutti 237 51 The theme, announced by the orchestra, is in simple song form. Both periods of eight measures each, use identical materials, with repeats, as found in most 18th century variations. Variation 1 is a delicate transformation for the piano with string accompaniment. Variation 2 features the woodwinds alone in m. 33, then its other variation is played by the piano with strings in m 41. With same structure and orchestration, the second period of the theme is varied from m. 57, creating a double-variation. This scheme is maintained until variation 6 with various orchestrations.
The piano alone opens variation 3 with great intensity, followed by a powerful variation by the orchestra.
Variation 4, a gentle song by clarinets with bassoon in
"warm" Ab major is contrasted to the aggressive third variation. It seems to show Mozart's special interest in the clarinet and it also sets a bright and warm atmosphere. This is again transformed in the piano and strings from measure
105. This Ab major variation sounds like an interlude.
Variation 5 is a true variation in C minor again, which belongs to the piano; only the end of each section has an accompaniment by strings. The first part begins with the variation, in free four-part counterpoint.
Variation 6 features a mood change in the peaceful key of C major. It starts with a beautiful ensemble between oboe, flute, and bassoon from measure 165. Piano and strings repeat this material, sharing the melody with each other. 75
For the conclusion, the piano's scale passage is repeated by woodwinds.
Variation 7, which has no repeats, starts like the theme. However this similar theme by strings, is accompanied by woodwinds and running passages by the piano. Piano arpeggios extend to the cadenza in measure 219.
The final variation, in 6/8 time, is played by the piano alone, followed by a long and passionate coda. Many writers mention the character of this final movement. Hutchings
insists that
The C minor Concerto uses a conventional practice in a very unconventional way. The favorite method of changing from duple to triple or compound time at the end of a rondo, usually to 6/8, is used to bring out all the pathetic elements in the theme.27
The coda is derived from the fragment in mm. 225-226 and part of mm. 240-256 is repeated. Passionate arpeggio passages by the piano and tutti create a strong conclusion strongly.28
In the variation form, Mozart fully presents the various
interplay of solo and orchestra. His important assignment to the winds.is worthy of notice more than any other composers.
Mozart uses a large variety of orchestration, pairing various
instrumental forces to achieve different effects. His orchestration is not a random use of instruments but one that is quite well planned, and symmetrical. For example, the theme and the last four measures performed by the orchestra, variation 1 and variation 7, 8 and the coda mainly by the piano and strings; he exchanges the role of instruments in the melody. Variation 2 and 6 are in double variation form by the woodwinds and piano with strings. He also employs different construction of woodwinds; variation 3 and 5 begin with piano solo, and the variation 4 begins with the clarinets. By the fourth variation, the orchestration has a symmetrical relation, as shown in the Table 4. This variation with a brilliant coda in a variety of orchestrations, successfully gains the final victory over the tension and tragic mode of the movement.
Melodic Characteristics
In variation form, it is important to vary a melody within its basic form. That is why most themes in variation
form are composed of simple rhythm and form to maintain its
features in succeeding variations. The Mozart's theme moves
largely in quarter-notes in the first section. It starts with two independent melodies, as the first one moves downwards by step, and the other goes upward to a higher register by skip. The second section starts with repetition of Ab and combines two 8th-note rhythms which are more melodic than the first section (Fig. 31). This is repeated like most 18th century variations, and contains the other period. It also follows this rhythm and idea. 77
t e a B i g S 9 ** BliU. V- Sir. P m wJrA 4 j < © » i * n -
Figure 31. The theme, 3rd Movement.
The first variation belongs to the piano which is more
decorated in smaller 8th-notes. The first section is
decorated by chromatic double neighboring and passing tones.
Then, sequential turns are employed in the rest of the
section (Fig. 32). The strings provide a simple
accompaniment. Rosen observes that a variation of concerto belongs to the decorated piano part.
In the variation sets in the concertos, the heavier decoration for the piano has already been written out by the composer: this is even true of movements like the variation finale of the C minor Concerto K. 4 91, where the left hand was sketchily indicated and filled in later, while the decorated form of the melody for the soloist was written out from the very first.29
Figure 32. Variation 1, 3rd Movement 78
The woodwinds open the second variation, showing little difference from the original theme. The piano repeats each half in running 16th-notes, with scales for the first time, and arpeggios for the second (Fig. 33). This variation demonstrates Mozart's use of rapid, smaller-note values to create a sense of excitement.
E l .fa ifTp pf fj-rrj m ft- S
Figure 33. Variation 2, 3rd Movement.
In the third variation, the first intensive feeling is
interrupted by the piano solo. The theme is emphasized by
chords and dotted 8th-note in the treble clef of the piano
solo. The accompaniment is varied by ascending and
descending arpeggios in triplets (Fig. 34). This variation utilizes the first rhythmic change of the melody. In each half of the variation, the tutti again projects the powerful melody in dotted 8th-notes, pattern, while the accompaniment
is varied with running 16th-notes. 79
Figure 34. Variation 3, 3rd Movement.
Among the eight variations, variation 4 introduces the first new material, arranged as a military march in Ab. This variation gives the impression of episodes, as the piano and woodwinds alternate the playing of rapid scales and broken chords.
Figure 35. Variation 4, 3rd Movement.
Mozart employs contrapuntal techniques in the fifth variation. This variation depends almost entirely on the piano, in free four-part counterpoint (Fig. 36). This is not an episode, but a variation from the original theme. Its 80 second part suddenly changes from stepwise melodic characteristics to powerful dotted 8th-note figures borrowed from the third variation, accompanied by rapid ascending
16th-note scales.
I
Figure 36. Variation 5, The 3rd Movement.
Variation 6, Mozart again employs new material in C major, demonstrating sharp contrast to the previous variation by animated conversation between the oboe and flute (Fig.
37). This affects the piano part, which supports the violins with running scale passages in each second half, also accompanying winds in the closing section.
i i i i
m Jmhnm
Figure 37. Variation 6, 3rd Movement. 81
The seventh variation opens in the same manner as the original theme, played first by the strings. The soloist displays of 16th-note scales, arpeggios, and broken octaves joined with Alberti bass treatment (Fig. 38). The three- measure piano passage leads to the cadenza. This variation has no repeats.
-fT-S. '7 J. J fcoil — 1—1— 1—f~“t= s f i - 4 8U\ “ Bits. Str. = j y = h I i
Figure 38. Variation 7, 3rd Movement.
The cadenza ends quietly and leads smoothly the finale.
The last variation is transformed into a quick tempo, instead of returning to the theme, written in 6/8 time like the conclusions of many rondos and arias.30 The melody is decorated by expressive chromatics as in the first variation
(Fig. 39). The last phrase of the variation is repeated softly one octave lower in mm. 237-23 9 and leads to a long coda with the orchestra. From measure 241 (Fig. 40), the passionate passage which emphasizes the Db octave is repeated, and it increases the excited feeling with the 82 repeated chromatic passages. Radcliff says that this passage was much admired by Beethoven, and its influence can be found in the finale of the Appassionata Sonata.31 The sudden rest in measure 24 9 makes the climax more dramatic. This section from measure 239 is repeated exactly from easure 257. After repetition, the piano plays the motive from the last section of the variation in the higher octave range and descends to the lower register with repetition of rapid 16th-notes, joining the orchestra for a dramatic climax and final cadence.
2.21
Figure 39. Variation 8, 3rd Movement.
2.41
Figure 40. Measures 241-244, 3rd Movement. 83
Harmony
The third movement returns to the C minor mood of the opening movement, after the second movement heard in the
relative major, Eb . In the 18th century the tonality of a major chord was considered to have less tension than a minor one, and gave a more satisfactory resolution. However,
Mozart used C minor again in the finale movement instead of the major mode. Rosen explains that:
On the rare occasions when Mozart chose to end in minor-that is, with some of the harmonic tension still echoing in the mind when the music is over- he always compensated for this by an added simplicity of phrasing and articulation, as in the E minor Sonata for Piano and Violin and A minor Sonata for piano, K.310, or by the sectional variation form as in the C minor Piano Concerto.32
As suggested by, the rhythm and melodic characteristics
of the theme seems simple, but the movement shows richer
harmonic character and detailed orchestration. The theme is
harmonized with tonic and dominant in the usual style of the
period, but Mozart colors this theme with Neapolitan sixth
chords in measures 5 and 13 (Fig. 41). Instead of the
conventional first inversion, he used second inversion,
featuring the Neapolitan chord as an important element of the
whole movement. The first period of the theme modulates to G
minor rather than to the relative major through the the
submediant chord of C minor in measure 5: this chord can be
the flattened supertonic of G minor. By the end of the third 84 phrase it returns to C minor again. The last phrase is a transposition to the tonic of the second phrase in G minor.
It first shows the second inverted Neapolitan 6th chord in C minor with a repeated Db melody.
Allegretto
Cm'. } V i \
Figure 41. Measures 1-16, 3rd Movement.
As in most sets of variations in the Classical period, the original harmonic structure is retains throughout the movement, except for the fourth and sixth variations. The fourth variation is in Ab major and the sixth variation in C major. In the double-variation form, this Neapolitan 6th chord is emphasized repeatedly with various harmonic processes. In the fourth variation, the Neapolitan 6th chord moves to the dominant through the German augmented 6th chord in G minor in m. 70. On the other hand this harmonic 85 process is extended with the first inversion of the
Neapolitan 6th chord in mm. 84-88 (Fig. 42). This harmonic progress reappears in the seventh variation.
Cnrv. Nfc V t/VL GerC •
Figure 42. Measures 84-87, 3rd Movement.
The harmony of the final variation is often mentioned by many writers, because of the unique harmonic color with chromaticism and the Neapolitan 6th chord. Meyer suggests that the Neapolitan sixth has traditionally been associated with the expression of pathos.33 Mozart emphasized this character in the final variation and the coda to lead to the excited climax in 6/8 meter. In mm. 225-228 the harmonic process in G minor is transposed to C minor in the last phrase like the original theme. In mm. 233-236, Mozart applies the second inversion of the Neapolitan sixth chord with enharmonic alteration of its dominant seventh and the
German augmented sixth, building a distinctive melodic idea
(Fig. 43). This passage is emphasized several times in the c o d a . 86
TT
Figure 43. Measures 233-236, 3rd Movement.
The eighth variation also has the distinctive chromatic process in measures 244-24 9. Mozart used this chromatic character to build the emotional and structural climax like that of the first movement.
Technical Characteristics
This movement belongs to the piano in many variations demonstrating brilliant and strong technical features. The first variation (Fig. 44) requires very detailed articulation by the right hand. All articulations such as staccato, short legato, and long legato must be strictly observed.
Sequential passages with ornaments, as in mm. 21-23, are ideal places to accent on each down beat, but they should be performed as one phrase, making a smooth crescendo. To create this effect, the touch should be made by a high wrist position. 87
m
Figure 44. The 1st variation, 3rd Movement.
The second variation consists of running 16th-note rhythmic patterns. A high wrist position is needed for the light and delicate sound. The third variation is opened by the piano solo and requires strong left hand skill (Fig.45).
Figure 45. Third variation, 3rd Movement.
It is easy for the left hand to make the accent on each down beat, because the first note of each arpeggio in triplets starts by the leap of a large interval. However, the 88 accompaniment should support the interpretation of the right hand. To develop this skill, the left hand passage and leap need special attention and should be practiced separately and slowly. When the right hand first introduces the transformed rhythm of the dotted 8th note figure, the melody should be played steadily and firmly, avoiding playing the 16th note too short.
Variation 4 has a different atmosphere from the strong and excited third variation. It should be interpreted simply with warm and calm feeling, while maintaining the same tempo.
Like any other pieces, it should treat the repeated short slur notes group as one phrase. Especially in the second part, the piano melody is transformed to a scale passage with a leap figure in mm. 122-123. It is technically difficult to make the controlled Eb in measure 123 immediately after a fast scale. Quick help from the left hand is suggested to save time for preparation of the next note (Fig. 4 6).
Figure 46. Measures 122-123, 3rd Movement. 89
The fifth variation in the free four part counterpoint should be practiced carefully. For accurate balance of each part, careful fingering is needed. My suggestions for fingerings, based upon the Schirmer edition, are printed b e l o w :
Figure 47. Fingering of measures 128-135, 3rd Movement.
In variation 6 and 7, piano passage is mainly dominated with scale and arpeggio passages. In these variations the piano supports the theme performed by winds and strings.
Above all, it is important to keep a steady tempo and to create a smooth ensemble with them. At the end of the seventh variation, Fischer indicate lead-ins by Hummel.
Badura-Skoda says that: 90
Hummel's lead-in for measure 219 is excellent, but there is no reason to begin on the topmost E flat of the modern piano ( an octave higher than Mozart1s top note); we would recommended simply omitting the top octave of Hummel's lead-in.34
The last variation and long coda in 6/8 time leads to the climax of this concerto. The variation starts with piano solo which is decorated with the ornaments which should be played rhythmically. When the same melody is repeated it is available to make an echo effect, suggested in m. 236 with the marking "pp." The scale passage in m. 240 is the one of the most difficult to play. It should be played very quickly and rhythmically in tempo. Practice of light finger touch with up-wrist position and using the right arm angled to the right side helps maintain facility. In the coda, the climax is written as long arpeggios over one octave for the right hand. To project a strong and smooth sound, the left hand may share the first three notes with the right hand (Fig.
48). The last passage from m. 278, long descending arpeggios, should be played without any crescendo.35
Figure 48. Measure 250, 3rd Movement. 91
REFERENCES
1. Cuthbert Girdlestone, Mozart and his Piano Concertos (New York: Dover Publications, Inc., 1964), p. 24.
2. H.C. Robbins Landon, The Mozart Companion (New York The Norton Library, 1969), p. 257.
3. Arthur Hutchings, "Concerto," The New Grove Dictionary of Music and Musicians, 6th ed., (London: Macmillan Publishers Limited, 1980), Vol. 4, p. 633.
4. Girdlestone, op. c i t ., p. 24.
5. Ibid., p. 399.
6. H. G. Mishkin, " Incomplete notation in Mozart's Piano Concertos," Music Quarterly, Vol. 61, No. 3 (July, 1975), p. 356.
7. John A. Meyer, " Mozart's 'Pathetique' Concerto," Music Review, Vol. 39 (1978), p. 201.
8. Ibid.
9. Ibid., p. 200.
10. Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (London: Faber and Faber Limited, 1971), p. 248 .
11. Meyer, o p . cit., P- 196.
12 . Rosen, op. cit., P- 249.
13 . Meyer, op. cit., P- 201
14. Eva and Paul Badura-Skoda, Interpreting Mozart on the Keyboard ( New York: St. Martin's Press, 1962), p. 33.
15. Ibid., p. 86.
16. Ibid., p. 14 9.
17. Ibid. 92
18. Arthur Hutchings, A Companion to Mozart's Piano Concertos (London: Oxford University Press,1948), p. 16.
19. Alfred Einstein, Mozart, his Character, His Work (London-.Oxford University Press, 1945), p. 311.
20. Hutchings, op. cit., p. 173.
21. Rosen, op. cit., p. 106.
22. Badura-Skoda, op. cit., p. 27 9.
23. Philip Radcliffe, Mozart Piano Concertos (Seattle: University of Washington Press, 1978),p. 60.
24. Girdlestone, op. cit., p. 404.
25. Badura-Skoda, op. cit., p. 280.
26. Girdlestone, op. cit., p. 407.
27. Hutchings, op. cit., p. 46.
28. Girdlestone, op. cit., p. 410.
29. Rosen, op. cit., p. 103.
30. Girdlestone, op. cit., p. 410.
31. Radcliffe, op. cit.,p. 61.
32. Rosen, op. cit., p. 276.
33. Meyer, op. cit., p. 197.
34. Badura-Skoda, op. cit., p. 289.
35. Ibid., p. 290. CHAPTER IV
SUMMARY AND CONCLUSIONS
Among Mozart's output of piano pieces, the C minor Piano
Concerto, K. 4 91, composed in 1786, is probably one of his greatest works. The concerto consists of three movements:
Allegro, Larghetto, and Allegretto, in the keys of C minor, E flat Major, and C minor, respectively. This concerto is often mentioned for its unusual aspects. The C minor key is unusual for Mozart, because he did not use this key frequently. He also used triple meter in the first movement and variations of the finale.
Moreover, it shows the collaboration of piano and orchestra. Although Mozart was a great pianist, he never exaggerated the solo. This concerto demonstrates his concerns for the cooperation between soloist and the orchestra. He displays his preference for woodwinds in this concerto, using clarinets and oboes simultaneously. He creates rich coloring and variety with the two instruments, giving them important solo lines.
The scoring for the piano is varied by broad registers and virtuosity. His melodies posses not only introspective darkness and drama in the minor mode, but also simple
93 94 tenderness in the major key.
The true worthiness of music depends on accurate performance. Proper interpretation is essential for the best performance. I believe that knowledge of the music is truly necessary to perform: the character of the music and express the intentions of the composer. Although my analysis in this document is limited, I have discussed orchestration, formal structure, key relationship, thematic characteristics, harmony and technical problems as aids to future performers for this work.
Ensemble problems need to be addressed when performing concertos. In the case of two-piano ensemble, visual contact is essential during the performance. Especially in the second movement there are several parts which begin together.
Without visual contact and identical phrasing, it is difficult to match pitches exactly. The interpretation and dynamics of each performer should be well balanced. The second movement contains a passage like a conversation between woodwinds and piano solo, and the third movement also shares many melodic lines in variation form. The second pianist who uses the orchestral reduction should carefully consider the tone color of the original instrument and interpretation of the solo pianist. Generally, it is important to listen carefully to each other and to understand the music of the other partner. In comparison with some virtuoso Romantic pieces, most
Mozart piano works do not contain heavy textures, or severe
technical passages which require great physical strength.
Instead, they require a delicate tone quality and even touch, perhaps more than other composers' works. Special care of
articulation and detailed interpretation should be considered
This concerto has not only many fast scale and arpeggio passages, but also child-like simple theme. For the even and
fluent sound at a steady tempo, it is helpful to practice
with a metronome in slow tempo first, gradually increasing
speeds to the proper tempos.
A concerto has different aspects from a solo piece. It
is a large musical collaboration. This concerto takes
approximately 33 minutes to perform. In large works such as
this, it is easy to have memory slips without understanding
the entire score. In addition to playing his own part, the
soloist should similarly practice the orchestral part,
thereby aiding memorization of the music and emphasizing good
ensemble. BIBLIOGRAPHY
Books
1. Badura-Skoda, Paul& Eva. Interpreting Mozart on the Keyboard. Eng tr. Leo Black. New York: St. Martin's Pr e s s .
2. Baker, Richard. Mozart. New York: Thames and Hudson Ltd., 1982.
3. Braunbrhrens, Volkmar. Mozart in Vienna. New York: Harper Perennial, 1991.
4. Einstein, Alfred, Mozart, his character, His Work. London: Oxford University Press, 1945.
5. Forman, Denis. Mozart’s Concerto Form: the First Movements of the Piano Concertos. New York: Praeger, 1971.
6. Friskin, James. Music for the Piano. New York: Dover, 1973.
7. Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications, 1972.
8. Girdlestone, Cuthbert. Mozart's Piano Concertos. London: Cassell, 1948.
9. Grout, Donald J. A History of Western Music. New York: W.W. Norton, 1973.
10. Holmes, Edward. The Life of Mozart. New York: E. P. Dutton & Co., 1921.
11. Hussey, Dyneley. Wolfgang Amade Mozart. New York: Books for Libraries Press, 1969.
12. Hutchings, Arthur. A Companion to Mozart's Piano Concertos. London: Oxford University Press, 1948.
13. Jones, George Thaddeus. Music Theory. New York: Barnes & Noble Books, 1974.
96 97
14. Keys, Ivor Christopher Banfield. Mozart: His Music in His Life. New York: Holmes & Meier Publishers, 1980.
15. King, Alexander Hyatt. Mozart:a bibliography, with a survey of books, editions & recordings. Archon Books, 1970.
16. ______. Mozart in Retrospect; Studies in Criticism and Bibliography. London, 1955.
17. Kirby, F.E. A Short History of Keyboard Music. New York: Schirmer Books, 1966.
18. Landon, & Mitchell, Donald. The Mozart Companion. London: Rockliff, 1956.
19. Levey, Michael. The Life and Death of Mozart. New York: Stein and Day, 1971.
20. Mozart, Wolfgang Amadeus. The Letters of Mozart and His Family. London: Macmillan, 1966.
21. Radcliffe, Philip. Mozart Piano Concertos. London: British Broadcasting Corporation, 1978.
22. Ratner, Leonard. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980.
23. Rosen, Charles. The Classical Style: .Haydn, Mozart, Beethoven. London: Faber and Faber Limited, 1971.
24. Sadie, Stanley. The New Grove Mozart. London: Macmillan Publishers, 1982.
25. Tischler, Hans. A Structural Analysis of Mozart's Piano Concertos. New York: Institute of Mediaeval Music, 1966.
26. Tovey, D. F. Essays in Musical Analysis, Vol. Ill, Concertos. London: Oxford University Press, 1937.
ARTICLES
27. Bilson, Malcolm. "Some General Thoughts on Ornamentation in Mozart's Keyboard Works," Piano Quarterly, no. 95 (Fall 1976): pp. 26-28.
28. Brendel, Alfred. "A Mozart Player Gieves Himself Advice," Gramophone, vol. 63 (March, 1986): pp. 1133-4. 98
29. Dee, James H. "Mozart's Trills: Some Eighteenth Century Evidence, 11 Piano Quarterly, vol. 37, no.146 (1989): p. 24 .
30. Hutchings, Arthur. "Concerto," The New Grove Dictionary of Music and Musicians, 6th ed., Stanley Sadie, editor. London: Macmillan Publishers Limited, 1980, pp. 626-640.
31. Kimbell, D. "Variation Form in the Piano Concertos of Mozart," Music Review, vol. 44 (1983): pp. 95-103.
32. Maunder, Richard. "Performing Mozart and Beethoven Concertos," Early Music, vol. 17 (February, 1989): pp. 139-40.
33. Mercado, Mario R. "The Evolution of Mozart's Pianistic Style," Dissertation Abstract, vol. 46.(October, 1985): p. 835 A.
34. Meyer, John A. "Mozart's 'Pathetique' Concerto," Music Review, vol. 39, no. 3 (1978): pp. 196-210.
35. Mishkin, Henry G. "Incomplete Notation in Mozart's Piano Concertos," Musical Quarterly, vol. 61, no. 3 (July, 1975): pp. 345-59.
36. Mueter, John A. "An Unpublished Cadenza by Gounod for Mozart's Piano Concerto, K. 4 91 (appendices include facsimile and transcription)," Current Music, vol. 34 (1982): pp. 26-41.
37. Redlich, H. F. "Mozart's Cm Piano Concerto (K.491), Music Review, vol. 9 (1948): pp.87-96.
38. Richter, Thomas. "Pianos in Mozart's Time," Piano Quarterly, vol. 21, no. 83 (1973): pp. 38-42.
MUSIC SCORES
39. Mozart, Wolfgang Amadeus. Concerto No. 24 in C minor, Kochel 491. Edited by Hans Bischoff, with the orchestral accompaniment arranged for a second piano. New York: G. Schirmer, Inc.
40. Mozart, Wolfgang Amadeus. Concerto No. 24 in C minor, KV. 491. Edited by Edwin Fischer and Kurt Soldan, with the orchestral accompaniment arranged for a second piano. Frankfurt: C. F. Peters. 99
41. Mozart, Wolfgang Amadeus. Concerto No. 24 in C minor, Kochel 491. Edited by Frederich Blume. Eulenburg Edition.
DISCOGRAPHY
42. Bennett, S. W. Music Notes. Mozart Concerto for Piano and Orchestra No. 24 in C minor, K. 491. Denis Matthews and the Vienna State Opera Orchestra, conducted by Hans Swarowsky, The Vanguard Everyman Classics, SRV- 142 SD.
43. Canby, Edward Tatnall. Music Notes. Mozart Piano Concerto No. 24 in C minor, K. 491. Paul von Schilhawsky and Orchestra of Radio Bavaria, conducted by Rudolf Albert, Nonesuch Records, H-1059.
44. Gould, Glenn. Music Notes. Mozart Piano Concerto No. 24 in C minor, K. 491. Glenn Gould and CBC Symphony Orchestra, conducted by Walter Susskind, Monaural ML 5739.
45. Johnson, David. Music Notes. Mozart Piano Concerto No. 24 in C minor, K. 491. Clara Haskil and Orchestre des Concerts Lamoureux, conducted by Igor Markevitch. Epic 3798.
46. Reed, Peter Hugh. Music Notes. Mozart: Piano Concerto No. 24 in C minor, K. 491. Paul Badura-Skoda and Vienna Symphony Orchestra, conducted by Felix Prohaska, Westminster WL 5097.
47. Roy, Klaus G. Program Notes. Piano Concerto No. 24 in C minor, K. 491 by Wolfgang Amadeus Mozart. Christoph Eschenbach and The Cleveland Orchestra, conducted by Rafael Kubelik, December 2, 197 6, pp. 430-9.