Analysis of Mozart’s Piano Concerto

This assignment is about an analysis of a concerto that was recorded on February, 10, 1785 regarding Mozart’s piano. The concerto was completed within thirty minutes. The soloist was the composer. The concerto scores for 2 bassoons, 2 trumpets, solo piano, 2 horns, 2 oboes, flute, strings as well as timpani. Ideally, the concerto consist of 3 movements which include the Romance, Allegro and Rondo[1]. The initial movement of the concerto begins with a dark D minor tonic key with the strings quietly and restlessly accumulated in the full forte. The soloist of the piano hastily picks up the message and develop it through the entire long movements. Romance is the 2nd movement and it consists of a 5 part Rando whose D minor’s relative key is subordinated by the coda. A trumpet as well as a timpani are exempted from the movement. Continuation of the piece to the 2nd part is demarcated by setting in of a storm rather than a beautiful melody. Suddenly, transition was absent when the storm set begun, however, upon returning back to the tonic of B major, the melody returned as the movement came close to the end. The piece terminates with a faint whisper which develops from an ascending arpeggio. The Rando part begins with the rippling upward of a solo piano in the home key prior to complete orchestra responses with an aggressive section. A contrasting F major melody is introduced by the orchestra before the rounding off of the primary theme by the solo piano. The chain of sharp chords of the piano snapped the happy melody. Passages started on D minor and were accelerated on the solo piano by the orchestra. Various modulations came after the 2nd message leading to momentarily pause that was caused by the introduction of the customary cadenza using the same format[2]. Apparently, the piece became sunny in character after clearing of the mood during the cadenza. The wind and the Oboes took up the bright melody in the parallel key of D major. Repetition of each passage was done by a solo piano prior to development of a complete orchestral passage after which summarization of concerto with a jubilant finish was conducted. This works offer particular chances for explaining and identifying inter-generic dramatic dialogue of Mozart and supervision of its development over a protected period[3].

The initiation of a low ending style is demarcated by the concerto’s dramatic arch which moves via high style. The first movement comprises of high style Ombra topic that is closely related to its references of supernatural vengeance. On the other hand, the middle style gavotte topic with its references to pastoral pressure. The mismatch between both styles remains unresolved at the end of the movement. The middle style musette topic is reinterpreted by the 2nd movement struggle which represents Arcadia’s nostalgia as well as the section C which signifies the disruptive desire of the artist. Both high and low styles struggle are calm in the third movement of the Mozart indicating that they have a resemblance and hence the juxta-positioning of the three styles are sidestepped. The comedy is the last part of the dramatic episode where the low style ending and Rondo’s formed movements point to its opera’s ancestry.

The low, high and medium styles of the Mozart acts as a crucial arena for piano concerto whose aura contributes to controversial and conflict resolutions. The human themes were archetypal and inherent in the concerto and the opera although the concerto is inexorable and inevitable regarding musical language. Even with the clarification of the text by the opera, the influence and potency of the concerto cannot be downgraded by lack of papers to illustrate similar issues of the opera via a robust combination of low, middle and high styles of the Mozart. The archetypal problems, conflicts, and disjunction contained in the concerto are similar to the artist’s operas[4]. Mozart avoided using text to explain the issues in the concerto, but he utilized the topic, key and orchestral forces to communicate. The use of topics in the operas by Mozart provides a model or platform for analysis that can mediate between the people and the operas’ responses to individuals when obtaining and grouping supply of independent data concerning the ensembles meaningful content and arias. The elaborate scope of expression and the Mozart’s concerto piano are the culmination of this assignment. The concerto was selected for its vast spectrum that ranges from tragic events to the happiest moods.

Bibliography

Girdlestone, Cuthbert. Mozart and his piano concertos. Courier Corporation, 2012.

Roy, Adam. “Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart and Schumann.” PhD diss., Université d’Ottawa/University of Ottawa, 2015.

Schmalfeldt, Janet. “Beethoven’s ”Violation”: His Cadenza for the First Movement of Mozart’s Concerto in D Minor, K. 466.“ Music Theory Spectrum 39, no. 1 (2017): 1-17.

[1]

Girdlestone, Cuthbert. Mozart and his piano concertos. Courier Corporation, 2012.

[2]

Schmalfeldt, Janet. ”Beethoven’s ”Violation”: His Cadenza for the First Movement of Mozart’s Concerto in D Minor, K. 466.“ Music Theory Spectrum 39, no. 1 (2017): 1-17.

[3]

Girdlestone, Cuthbert. Mozart and his piano concertos. Courier Corporation, 2012.

[4]

Roy, Adam. ”Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart and Schumann.“ PhD diss., Université d’Ottawa/University of Ottawa, 2015.