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Mozart Piano Concerto no 23 in A Major

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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

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Mozarts 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 clarinetwriting solo pieces for it.

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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

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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

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Form Comparisons SectionExpoSiTionDevelopmentRecapItulation SubjectABA/BAB KeyTONICDOMVARIOUSTONIC SONATA RONDO FORM Movement III SONATA FORM Movement I

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1 st 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 1 st and 2 nd Theme

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1 st 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

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1 st 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 1 st and 2 nd Theme links to E Major

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1 st Movement Analysis Piano Exposition bars 67-156 Second Subject Theme 2a (1c) bars 99-106(Piano with block chord) Repeated by Fl, Bassoon and 1 st Violin Lyrical in nature contrasts other themes Bars 115-136 Theme 2aa (1d) Melody on piano with Orchestral acc Alberti bass

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1 st 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.

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1 st 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

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1 st Movement Analysis Development b170-198 Bars 170 Theme 3 (1e) Part Two C material developed again Cl and fl play in canon at a 4 th 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 Es on low strings and horns RH plays scales and broken chords B197 rising chromatic scale

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1 st 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.

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1 st 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

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1 st 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 outtaking no chances for the movement to become disjointed. B298 Coda material from 1D used to close coda.