Mozart's Piano Concerto No. 23 in A Major K488 follows classical forms and features three movements - the first in sonata form, the second in ternary form, and the third combining sonata and rondo forms. Mozart skillfully develops themes that are linked through modulation and uses unexpected keys. The concerto highlights Mozart's mastery of form, structure, and melodic development for both the solo piano and full orchestra.
Mozart's Piano Concerto No. 23 in A Major K488 follows classical forms and features three movements - the first in sonata form, the second in ternary form, and the third combining sonata and rondo forms. Mozart skillfully develops themes that are linked through modulation and uses unexpected keys. The concerto highlights Mozart's mastery of form, structure, and melodic development for both the solo piano and full orchestra.
Mozart's Piano Concerto No. 23 in A Major K488 follows classical forms and features three movements - the first in sonata form, the second in ternary form, and the third combining sonata and rondo forms. Mozart skillfully develops themes that are linked through modulation and uses unexpected keys. The concerto highlights Mozart's mastery of form, structure, and melodic development for both the solo piano and full orchestra.
Mozart's Piano Concerto No. 23 in A Major K488 follows classical forms and features three movements - the first in sonata form, the second in ternary form, and the third combining sonata and rondo forms. Mozart skillfully develops themes that are linked through modulation and uses unexpected keys. The concerto highlights Mozart's mastery of form, structure, and melodic development for both the solo piano and full orchestra.
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The document discusses the features of classical music, Mozart's compositional styles, classical musical forms, and provides an analysis of Mozart's Piano Concerto No. 23.
In the first movement, Mozart introduces musical themes in the exposition and develops them through repetition, variation, and modulation throughout the movement.
The second movement is in ternary form. Section A introduces four themes and modulates between F# minor and A Major. Section B features one new theme, and Section A1 repeats and alters themes from Section A.
Mozart
Piano Concerto no 23 in A Major
Features of Classical Music • Texture: Light and clear mainly homophonic • Melody: Elegant and expressive • Instruments: Orchestra grew from Baroque Period. Piano featured lots. • Form: Chamber music along with symphony, sonata and concerto gained popularity. Sonata form developed. • Features: Alberti Bass – repeated figure in LH – broken chord Mozart’s Styles • Skilled composer and pianist • Clear form and structure • Uses many themes linked brilliantly • Classical period usually had keys modulating to related keys but Mozart often used unexpected keys….SURPRISE!!!! • Mozart developed the clarinet…writing solo pieces for it. Classical Form • Concerto – Solo instrument contrasted against the orchestra • Cadenza – Solo section usually inserted at the end to show the skill of the player. • Ternary form – 3 part form where the first part is identical to the last ABA • Sonata Form – form in 3 sections Exposition, Development and Recapitulation Piano Concerto No. 23 in A Major K488 • 3 movements • Movement 1 – Sonata Form • Movement II – Ternary Form • Movement III – Sonata-Rondo Form • Sonata Rondo Form uses the recurring theme idea of Rondo with the Sonata plan form Form Comparisons SONATA RONDO FORM – Movement III
SONATA FORM – Movement I
Section Expo Si Tion Development Recap Itula tion
Subject A B A/B A B Key TONIC DOM VARIOUS TONIC TONIC 1st Movement Analysis Orchestral Exposition bars 1-66 Bars 1-8 Theme 1a
• A Major (Violin) • Repeated by WW Theme 1b bars 18-22 (violin)
• Rhythmic tune played by WW and strings
• Links 1st and 2nd Theme 1st Movement Analysis Orchestral Exposition bars 1-66 Second Subject – Theme 2a (1c) bars 30-35 (Strings repeated by WW not in Dom at this stage)
• Lyrical in nature contrasts other themes
Bars 46-52 – Theme 2aa (1d) bars energetic and vibrant dialogue between strings and WW
• Closes orchestral exposition
1st Movement Analysis Piano Exposition bars 67-156 Bars 67-74 Theme 1a
• A Major (Piano with string acc.)
• Repeated version decorated hugely Theme 1b bars 83-98(piano)
• Broken chord acc in piano
• Scales and sequences in RH • Links 1st and 2nd Theme – links to E Major 1st Movement Analysis Piano Exposition bars 67-156 Second Subject – Theme 2a (1c) bars 99-106(Piano with block chord) Repeated by Fl, Bassoon and 1st Violin
• Lyrical in nature contrasts other themes
Bars 115-136 – Theme 2aa (1d) Melody on piano with Orchestral acc – Alberti bass 1st Movement Analysis Piano Exposition bars 67-148 Bars 114-137 – Theme 2aa (1d) • Piano plays wildly elaborately Bars 137 – material from 1b acts as codetta still in E major Theme 3a (1e) bars 143-149 violin
• Sounds like new section but appears later in recap
so really belongs to the exposition. Describe it as a ‘development theme’. 1st Movement Analysis Development b156-170 Bars 156-170 – Theme 3 (1e) Part One • Expecting keys of A Major-E Major – D Major – 3 related minors F# minor – C# minor – B minor • However Mozart does not do this • Key sequence uses falling 3rds E-C and C-A Bars 156 – 4 bar phrase in E minor • Dialogue between clarinets, bassoons and horns Bar 160 • Repeated above idea in C Major Bar 164 • Repeat but extend now in A minor • Piano continues with idea ending in F Major • Strings take idea into D minor 1st Movement Analysis Development b170-198 Bars 170 – Theme 3 (1e) Part Two • C material developed again • Cl and fl play in canon at a 4th • RH plays scales and semi-quaver passages Bars 177 • F major chord begins preparation to bring piece back to dominant E which brings music back to A for recap. • B178-185 repeated E’s on low strings and horns • RH plays scales and broken chords • B197 rising chromatic scale 1st Movement Analysis Recapitulation b198-314
• Fusion of orchestral and piano exposition.
• Material is shared between soloist and orchestra • Old themes returned but with renewed freshness due to 1E being used in development. 1st Movement Analysis Recapitulation b198-314 • B198 – 1A as usual except with strings and flute. • B213 – 1B as b82 with piano joining in. All in A major. • B229 – 1C now in original key (compare b99) • B244 – 1D compare with b114 • B261 – Decorated piano passage with Cadenza in sight 1E is re-introduced • 1E played 3 times: – Soloist – Clarinet and Bassoon – 4 part counterpoint with piano decoration 1st Movement Analysis Recapitulation b198-314 • Theme 1E is original simplicity not like its appearance in exposition two. • Alberti bass b272 – ends on trill at b283 • B284 – Orchestra play 1B only 6 bars ends with 2 beats rest. • B290 – 1E arrives again stating its importance – very exuberant playing of the theme. • B297 – Cadenza begins – soloist usually improves but Mozart wrote it out…taking no chances for the movement to become disjointed. • B298 Coda – material from 1D used to close coda. 2nd Movement Adagio • Ternary form with 3 clear sections and a final coda • Section A begins in F# minor and ends in A Major • Section B uses one new idea • Section A1 uses 2 of the A themes but alters the 3rd theme • This movement uses the siciliana form which is a swaying rhythm in compound or duple time. 2nd Movement Adagio
• Section A Bars b1-35 F# minor to A Major
• Section B – b35-53 A Major • Section A1 – b53-92 F# minor • Coda - b92 – A Major 2nd Movement Adagio – Section A • Theme 1 b1 – F# minor – 11 ½ bars – Dotted Rhythm – Syncopation – Wide leaps Theme 2 b12 F# minor – 8 bars – No piano – 2 bar idea played as sequence 2nd Movement Adagio – Section A • Theme 3 b 20 – F# minor-A Major – 8 bars – Homophonic – Turn, dotted rhythm – Staccato and chromatic movement – Repeated notes – Modulation to A Major 2nd Movement Adagio – Section B
• Theme 4 – b35 – 4 bar melody
– Flute plays – Triplet arpeggios on clarinet – Rising scales on ww 2nd Movement Adagio – Section B • Theme 4 – b39 – 4 bar melody repeated – Played on flute, piano and clarinet – 2nd clarinet plays 3rd below and LH plays arpeggios – Horns play dominant pedal
B43 – 8 bars of dialogue and sequences on
orchestra and piano B51 – 2 bar transition from A Major to F# minor 2nd Movement Adagio – Section A1 • Theme 1 - b53 – F# minor • Music of b1 repeated and extended • Theme 2 – b68 – F# minor • Repeats music of b12 • Theme 3 – b76 – F# minor • 4 bar melody on piano and strings • RH plays semiquaver version of theme 2 • Grace notes and turns in RH • Alberti bass on LH 2nd Movement Adagio – Section A1
• B80 – 4 bars of LH and Bassoon in dialogue
• B84 – 8 bar link passage with wide leaps on piano • B88 – 4 bars repeated with wind accompaniment 2nd Movement Coda
• B92 – 8 bars theme 2 melody on flute with
violin broken chord • Repeated semi quavers on RH • 1st clarinet joins flute • 1st bassoon joins an octave lower • Perfect cadence - F# minor ending
From Manuscript To Publication: Aspects of Lionel Tertis' Style of Viola Playing As Reflected in His 1936 Edition of Ralph Vaughan Williams' Suite For Viola and Orchestra