Piano Concerto No. 22 (Mozart)
The Piano Concerto No. 22 in E flat major, K. 482, is a concertante work for piano, or pianoforte, and orchestra by Wolfgang Amadeus Mozart. Mozart composed the concerto in December of 1785.
This is the first piano concerto of Mozart's to include clarinets in its scoring.[1] It has the following three movements:
- Allegro
- Andante
- Allegro
Roger Kamien and Naphtali Wagner have analysed in detail Mozart's use of bridge themes in the exposition of the concerto's first movement.[2] Simon Keefe has analysed the character of the dialogue between the soloist and the orchestra in the concerto's first movement.[3]
The slow second movement in C minor recalls similar slow C minor movements in other Mozart E-flat major concertos such as K.271 and K.364. Mozart's father, in a famous letter to Maria ("Nannerl"), expressed surprise that a call was made for the slow movement ("a rather unusual occurrence!") to be repeated.[4]
In the rondo finale, the main theme resembles that of Mozart's third horn concerto (K.447). Adena Portowitz has noted similar features between the finale of the K.271 and K.482 concerti.[5] In another similarity to K.271, the finale is interrupted by a lengthy and slow minuet episode before returning to the main theme for a lively finish (also recalling Count Almaviva's adagio pleadings for forgiveness leading to a buffa conclusion in Le Nozze di Figaro a work that Mozart was working on at this time).The treatment is different here (variations in the ninth, an episode only, here). M. S. Cole has noted that the concerto's finale marks Mozart's last use of potpourri in his compositions.[6]
References
- ^ Thomson, Katharine (1976). "Mozart and Freemasonry". Music & Letters. 57 (1): 25–46. doi:10.1093/ml/LVII.1.25. Retrieved 2008-03-15.
{{cite journal}}: Unknown parameter|month=ignored (help) - ^ Kamien, Roger and Wagner, Naphtali; Wagner, Naphtali (Spring 1997). "Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions". Music Theory Spectrum. 19 (1): 1–12. doi:10.1525/mts.1997.19.1.02a00010. Retrieved 2008-03-14.
{{cite journal}}: Unknown parameter|month=ignored (help)CS1 maint: date and year (link) CS1 maint: multiple names: authors list (link) - ^ Keefe, Simon P. (Summer 1999). "Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements". The Musical Quarterly. 83 (2): 169–204. doi:10.1093/mq/83.2.169. Retrieved 2008-03-15.
- ^ Hutchings (1998, 143)
- ^ Portowitz, Adena (Winter 2001). "Art and Taste in Mozart's Sonata-Rondo Finales: Two Case Studies". The Journal of Musicology. 18 (1): 129–149. doi:10.1525/jm.2001.18.1.129. Retrieved 2008-03-14.
{{cite journal}}: Unknown parameter|month=ignored (help)CS1 maint: date and year (link) - ^ Cole, M.S. (1974). "Mozart Rondo Finales with Changes of Meter and Tempo". Studia Musicologica Academiae Scientiarum Hungaricae. T. 16 (Fasc. 1/4): 25–53. doi:10.2307/901841. Retrieved 2008-03-14.
Sources
- Hutchings, Arthur, A Companion to Mozart's Piano Concertos, Oxford University Press (original publication, 1948).
- Steinberg, Michael, The Concerto: A Listener's Guide, Oxford (1998, ISBN 0195103300)
External links
- Konzert in Es KV 482: Score and critical report (in German) in the Neue Mozart-Ausgabe
- Free scores by Piano Concerto No. 22 at the International Music Score Library Project (IMSLP)