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Piano Concerto No. 19 (Mozart)
Encyclopedia
The Piano Concerto
No. 19 in F major, KV. 459 by Wolfgang Amadeus Mozart
was written at the end of 1784: Mozart's own catalogue of works records that it was completed on 11 December (works surrounding it in the Köchel catalogue are KV. 458, the "Hunt" quartet and KV. 464, the fifth of the Haydn set
). It is occasionally known as the "second coronation concerto" on account of Mozart playing it on the occasion of the coronation of Leopold II in Frankfurt am Main in October 1790. The autograph
is held by the Jagiellońska Library
, Kraków
. The first edition was produced by Johann Andre of Offenbach in 1794, and Breitkopf & Härtel
produced an edition in 1800. Like all of Mozart's concerti it is in three movements:
The concerto was written for Mozart to perform himself: Hutchings calls it "athletic", combining grace with vigour. It is scored for flute
, two oboe
s, two bassoon
s, two horn
s, and string
s.
for a discussion of this notation), of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement. The piano then answers with its own exposition of 116 bars, starting with A and B, then introducing some new material (themes x and y), with free passages of arpeggios and scales: the scheme is ABxAyA Free D Free. The orchestra then returns on its own with its short first ritornello
(22 bars) that introduces another theme, G: the scheme is AGAG. In the ensuing middle section (35 bars) yet another orchestral theme is introduced, H: the scheme is HAHAHA. This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free. Finally, the movement is brought to a close with the final ritornello (36 bars): AGA Cadenza (Mozart's own exists) EF - hence the two closing themes of the prelude are finally heard again at the end.
1-16 A (2 x 8 bars, first p then f)
16-24 B
24-36 C plus short passage (32-36) connecting to D (this reoccurs constantly with D and thus could be considered part of it)
37-54 D (37-42), plus subsidiary theme linking to E
54-62 E -first closing theme
62-71 F -second closing theme
79-87 A (piano plus orchestra)
87-95 B (in orchestra, piano accompanies), modulates to C major at end
95-99 x (piano)
100-105 x (piano plus orchestra) then short passage connecting to A
106-111 A (orchestra), still in C
111-130 A (piano plus orchestra), in d minor then modulates through suspensions through various keys
130-138 y (orchestra) in C major
138-148 y (piano, but with strings at 142-44)
149-164 A (fragments of the rhythm in orchestra, piano accompanies), modulates through various keys
164-167 linking passage similar to 32-36 (in orchestra, piano accompanies), in C major
168-171 D (orchestra, piano accompanies), in F major again
171-177 linking passage similar to 32-36 (in orchestra, piano accompanies)
178-180 D (piano, orchestra accompanies)
181-188 Free passage, based on the triplets of D (piano with orchestral accompaniment), finishing on the shake at 178 on D, signifying the end of the exposition.
194-201 G
202-206 A (repeated fragments)
207-210 G
213-214 A (orchestra, piano accompanies)
215-216 H (piano), in a minor
217-235 A (orchestra and piano closely tied, switching theme back and forward)
235-240 H (a free version, piano)
241-246 A (orchestra), modulating to return to F major for the recapitulation
255-262 A (orchestra)
262-273 B (orchestra, piano accompanies)
273-278 A (orchestra)
278-285 A (piano, orchestra accompanies)
286-297 A (orchestra, piano accompanies, 291-293 linking passage)
297-305 y (orchestra)
305-315 y (piano, on its own apart from 309-311)
316-330 A (orchestra, piano accompanies)
330-334 transition passage to D, like 32-36 (orchestra, piano accompanies)
335-340 D (orchestra, piano accompanies), 338-340 linking passage by piano
340-347 subsidiary theme like 42-49 (piano, orchestra accompanies)
348-352 transition passage like 32-36 (orchestra, piano accompanies) leading to D
353-359 D (piano, orchestra accompanies), 356-359 linking passage
360-366 A (orchestra, piano accompanies)
367-368 A (piano, orchestra accompanies)
369-370 A (orchestra, piano accompanies)
371-378 Free passage, piano in broken chord triplets, leading to shake on g at 378 signifying the end of the recapitulation.
384-390 G
390-392 A (fragment)
392 Cadenza (piano: Mozart's is 37 bars long, KV 626aI/58)
393-401 E
401-410 F
B (first appearance: bar 16)
C (first appearance: bar 24)
D (first appearance: bar 37)
E (first appearance: bar 54)
F (first appearance: bar 64)
x (first appearance: bar 95)
y (first appearance: bar 130; below is the piano version at 138)
G (first appearance: bar 194)
H (first appearance: bar 211)
without the middle section). Each of the two major themes, the first major, the second minor, is broadly presented and varied; Mozart slightly varies the second presentation in B to avoid exact repetition. The movement is closed with highly characteristic use of the woodwind in quiet rising scales.
10-14 B (orchestra)
15-20 Connecting passage, modulating through various keys back to C major
21-25 A (orchestra)
26-29 A (piano)
30-35 A (passes back and forwards between piano and orchestra)
35-38 C new thematic material, passing into
39-43 free passage that modulates to G major
44-47 A (orchestra), in G major treated canonically
48-51 A (piano, orchestra accompanies), in G major treated canonically
52-57 D new thematic material (piano), closing the first group
58-61 E Opening of second group with unprepared modulation to g minor (orchestra)
62-66 E (piano, strings accompany)
67-70 F new thematic material in orchestra
71-73 same, with piano, modulating to G major at end
74-76 G (piano in G major)
76-77 G (orchestra, piano accompanies)
77-78 connecting passage (piano)
79-85 H (piano, orchestra accompanies) turning into free passage that modulates back to C major at the close for the recapitulation.
95-98 C (piano, orchestra accompanies. almost identical to 35-38), passing into
99-102 free passage that modulates into G major, then immediately back to C major
103-111 A treated canonically as in 48-51, extended (piano and orchestra together)
111-116 D (piano) in C major,
116-120 E (orchestra), this time in c minor
121-124 E (piano, orchestra accompanies), still c minor
125-129 F (orchestra), c minor
129-135 same, with piano, modulating to C major at end
135-136 G (orchestra)
136-141 connecting passage (piano, orchestra accompanies)
141-146 H (piano, orchestra accompanies) turning into free passage that leads back to A stays in C major
146-150 A (orchestra plus piano)
156-159 A - final, ornamented statement by piano, accompanied by the orchestral scales.
form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece: quaver-quaver-crotchet, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch. This motif is in fact used very frequently throughout the piece, a technique similar to the motif development used by Beethoven in his Symphony No.5 First Movement. The orchestra then comes up with the second theme - a scalar passage which is then presented in a contrapuntal fashion. The piano remains silent during this time. Then the piano makes its re-entrance and starts off with runs. The orchestra provides continuous accompaniment with the main motif and different themes. At one point the opening material returns and the second theme is played again , though not in the same pitch or with the same instrumentation. The treatment is contrapuntal but somewhat looser than previously, the piano now playing along with the orchestra. A sweeping passage by piano and then by orchestra leads into the cadenza which provides a temporary break from the relentless exhilaration of the movement. After the cadenza comes the coda where the main theme is built up bit by bit to a conclusion. The piece closes with three emphatic chords played by all instruments, including piano. All in all this is one of Mozart's most miraculous movements - the balance between the extreme light-heartedness of the melodies and the formal complexity of the motifs and the counterpoint being simply astounding.
Mozart piano concertos
The Mozart piano concertos refer to the 27 concertos for piano and orchestra written by Wolfgang Amadeus Mozart. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held a special place for him; indeed, Mozart's father apparently interrupted him...
No. 19 in F major, KV. 459 by Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
was written at the end of 1784: Mozart's own catalogue of works records that it was completed on 11 December (works surrounding it in the Köchel catalogue are KV. 458, the "Hunt" quartet and KV. 464, the fifth of the Haydn set
Haydn Quartets (Mozart)
The "Haydn" Quartets by Wolfgang Amadeus Mozart are a set of six string quartets published in 1785 in Vienna, dedicated to the composer Joseph Haydn. They are considered to be the pinnacle of Classical string quartet writing, containing some of Mozart's most memorable melodic writing and refined...
). It is occasionally known as the "second coronation concerto" on account of Mozart playing it on the occasion of the coronation of Leopold II in Frankfurt am Main in October 1790. The autograph
Autograph
An autograph is a document transcribed entirely in the handwriting of its author, as opposed to a typeset document or one written by an amanuensis or a copyist; the meaning overlaps with that of the word holograph.Autograph also refers to a person's artistic signature...
is held by the Jagiellońska Library
Jagiellonian University
The Jagiellonian University was established in 1364 by Casimir III the Great in Kazimierz . It is the oldest university in Poland, the second oldest university in Central Europe and one of the oldest universities in the world....
, Kraków
Kraków
Kraków also Krakow, or Cracow , is the second largest and one of the oldest cities in Poland. Situated on the Vistula River in the Lesser Poland region, the city dates back to the 7th century. Kraków has traditionally been one of the leading centres of Polish academic, cultural, and artistic life...
. The first edition was produced by Johann Andre of Offenbach in 1794, and Breitkopf & Härtel
Breitkopf & Härtel
Breitkopf & Härtel is the world's oldest music publishing house. The firm was founded in 1719 in Leipzig by Bernhard Christoph Breitkopf . The catalogue currently contains over 1000 composers, 8000 works and 15,000 music editions or books on music. The name "Härtel" was added when Gottfried...
produced an edition in 1800. Like all of Mozart's concerti it is in three movements:
- Allegro 4/4
- Allegretto 6/8, in C majorC majorC major is a musical major scale based on C, with pitches C, D, E, F, G, A, and B. Its key signature has no flats/sharps.Its relative minor is A minor, and its parallel minor is C minor....
- Allegro assai 2/4
The concerto was written for Mozart to perform himself: Hutchings calls it "athletic", combining grace with vigour. It is scored for flute
Flute
The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening...
, two oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s, two bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s, two horn
Horn (instrument)
The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
s, and string
String section
The string section is the largest body of the standard orchestra and consists of bowed string instruments of the violin family.It normally comprises five sections: the first violins, the second violins, the violas, the cellos, and the double basses...
s.
First movement
The orchestra opens quietly with a prelude of 71 bars (Hutchings incorrectly states 72), wherein six orchestral themes are exposed (A-F in Hutchings' notation; see main article on Mozart Piano ConcertosMozart piano concertos
The Mozart piano concertos refer to the 27 concertos for piano and orchestra written by Wolfgang Amadeus Mozart. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held a special place for him; indeed, Mozart's father apparently interrupted him...
for a discussion of this notation), of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement. The piano then answers with its own exposition of 116 bars, starting with A and B, then introducing some new material (themes x and y), with free passages of arpeggios and scales: the scheme is ABxAyA Free D Free. The orchestra then returns on its own with its short first ritornello
Ritornello
A ritornello is a recurring passage in Baroque music for orchestra or chorus. The first or final movement of a solo concerto or aria may be in "ritornello form", in which the ritornello is the opening theme, always played by tutti, which returns in whole or in part and in different keys throughout...
(22 bars) that introduces another theme, G: the scheme is AGAG. In the ensuing middle section (35 bars) yet another orchestral theme is introduced, H: the scheme is HAHAHA. This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free. Finally, the movement is brought to a close with the final ritornello (36 bars): AGA Cadenza (Mozart's own exists) EF - hence the two closing themes of the prelude are finally heard again at the end.
Analysis
The analysis is based on, and expanded from the scheme of Hutchings, by reference to the score. Girdlestone's implied scheme differs somewhat (for example, he recognises seven themes in the prelude: the extra one is identified as the "subsidiary theme" below).Prelude (orchestra)
Bars:1-16 A (2 x 8 bars, first p then f)
16-24 B
24-36 C plus short passage (32-36) connecting to D (this reoccurs constantly with D and thus could be considered part of it)
37-54 D (37-42), plus subsidiary theme linking to E
54-62 E -first closing theme
62-71 F -second closing theme
Exposition
72-79 A (piano)79-87 A (piano plus orchestra)
87-95 B (in orchestra, piano accompanies), modulates to C major at end
95-99 x (piano)
100-105 x (piano plus orchestra) then short passage connecting to A
106-111 A (orchestra), still in C
111-130 A (piano plus orchestra), in d minor then modulates through suspensions through various keys
130-138 y (orchestra) in C major
138-148 y (piano, but with strings at 142-44)
149-164 A (fragments of the rhythm in orchestra, piano accompanies), modulates through various keys
164-167 linking passage similar to 32-36 (in orchestra, piano accompanies), in C major
168-171 D (orchestra, piano accompanies), in F major again
171-177 linking passage similar to 32-36 (in orchestra, piano accompanies)
178-180 D (piano, orchestra accompanies)
181-188 Free passage, based on the triplets of D (piano with orchestral accompaniment), finishing on the shake at 178 on D, signifying the end of the exposition.
First Ritornello (orchestra)
189-194 A, in C major194-201 G
202-206 A (repeated fragments)
207-210 G
Middle Section
211-212 H (piano), in a minor213-214 A (orchestra, piano accompanies)
215-216 H (piano), in a minor
217-235 A (orchestra and piano closely tied, switching theme back and forward)
235-240 H (a free version, piano)
241-246 A (orchestra), modulating to return to F major for the recapitulation
Recapitulation
247-254 A (piano), in F major255-262 A (orchestra)
262-273 B (orchestra, piano accompanies)
273-278 A (orchestra)
278-285 A (piano, orchestra accompanies)
286-297 A (orchestra, piano accompanies, 291-293 linking passage)
297-305 y (orchestra)
305-315 y (piano, on its own apart from 309-311)
316-330 A (orchestra, piano accompanies)
330-334 transition passage to D, like 32-36 (orchestra, piano accompanies)
335-340 D (orchestra, piano accompanies), 338-340 linking passage by piano
340-347 subsidiary theme like 42-49 (piano, orchestra accompanies)
348-352 transition passage like 32-36 (orchestra, piano accompanies) leading to D
353-359 D (piano, orchestra accompanies), 356-359 linking passage
360-366 A (orchestra, piano accompanies)
367-368 A (piano, orchestra accompanies)
369-370 A (orchestra, piano accompanies)
371-378 Free passage, piano in broken chord triplets, leading to shake on g at 378 signifying the end of the recapitulation.
Final Ritornello (orchestra apart from cadenza)
379-384 A384-390 G
390-392 A (fragment)
392 Cadenza (piano: Mozart's is 37 bars long, KV 626aI/58)
393-401 E
401-410 F
Themes
A (first appearance: bar 1)Second movement
This gentle movement is in a condensed sonata form, with an ABAB structure (ie like a sonata formSonata form
Sonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
without the middle section). Each of the two major themes, the first major, the second minor, is broadly presented and varied; Mozart slightly varies the second presentation in B to avoid exact repetition. The movement is closed with highly characteristic use of the woodwind in quiet rising scales.
"Exposition"
1-10 A (orchestra)10-14 B (orchestra)
15-20 Connecting passage, modulating through various keys back to C major
21-25 A (orchestra)
26-29 A (piano)
30-35 A (passes back and forwards between piano and orchestra)
35-38 C new thematic material, passing into
39-43 free passage that modulates to G major
44-47 A (orchestra), in G major treated canonically
48-51 A (piano, orchestra accompanies), in G major treated canonically
52-57 D new thematic material (piano), closing the first group
58-61 E Opening of second group with unprepared modulation to g minor (orchestra)
62-66 E (piano, strings accompany)
67-70 F new thematic material in orchestra
71-73 same, with piano, modulating to G major at end
74-76 G (piano in G major)
76-77 G (orchestra, piano accompanies)
77-78 connecting passage (piano)
79-85 H (piano, orchestra accompanies) turning into free passage that modulates back to C major at the close for the recapitulation.
"Recapitulation"
86-95 A (piano first, then both), treated in a varied way95-98 C (piano, orchestra accompanies. almost identical to 35-38), passing into
99-102 free passage that modulates into G major, then immediately back to C major
103-111 A treated canonically as in 48-51, extended (piano and orchestra together)
111-116 D (piano) in C major,
116-120 E (orchestra), this time in c minor
121-124 E (piano, orchestra accompanies), still c minor
125-129 F (orchestra), c minor
129-135 same, with piano, modulating to C major at end
135-136 G (orchestra)
136-141 connecting passage (piano, orchestra accompanies)
141-146 H (piano, orchestra accompanies) turning into free passage that leads back to A stays in C major
146-150 A (orchestra plus piano)
Coda
150-155 scales in orchestra156-159 A - final, ornamented statement by piano, accompanied by the orchestral scales.
Third movement
The movement, described by Girdlestone as the concerto's strongest movement , is in a broadly rondoRondo
Rondo, and its French equivalent rondeau, is a word that has been used in music in a number of ways, most often in reference to a musical form, but also to a character-type that is distinct from the form...
form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece: quaver-quaver-crotchet, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch. This motif is in fact used very frequently throughout the piece, a technique similar to the motif development used by Beethoven in his Symphony No.5 First Movement. The orchestra then comes up with the second theme - a scalar passage which is then presented in a contrapuntal fashion. The piano remains silent during this time. Then the piano makes its re-entrance and starts off with runs. The orchestra provides continuous accompaniment with the main motif and different themes. At one point the opening material returns and the second theme is played again , though not in the same pitch or with the same instrumentation. The treatment is contrapuntal but somewhat looser than previously, the piano now playing along with the orchestra. A sweeping passage by piano and then by orchestra leads into the cadenza which provides a temporary break from the relentless exhilaration of the movement. After the cadenza comes the coda where the main theme is built up bit by bit to a conclusion. The piece closes with three emphatic chords played by all instruments, including piano. All in all this is one of Mozart's most miraculous movements - the balance between the extreme light-heartedness of the melodies and the formal complexity of the motifs and the counterpoint being simply astounding.