Presentation on theme: "Piano Concerto no 23 in A Major"— Presentation transcript:
1 Piano Concerto no 23 in A Major MozartPiano Concerto no 23 in A Major
2 Features of Classical Music Texture: Light and clear mainly homophonicMelody: Elegant and expressiveInstruments: 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
3 Mozart’s Styles Skilled composer and pianist Clear form and structure Uses many themes linked brilliantlyClassical period usually had keys modulating to related keys but Mozart often used unexpected keys….SURPRISE!!!!Mozart developed the clarinet…writing solo pieces for it.
4 Classical FormConcerto – Solo instrument contrasted against the orchestraCadenza – 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 ABASonata Form – form in 3 sections Exposition, Development and Recapitulation
5 Piano Concerto No. 23 in A Major K488 3 movementsMovement 1 – Sonata FormMovement II – Ternary FormMovement III – Sonata-Rondo FormSonata Rondo Form uses the recurring theme idea of Rondo with the Sonata plan form
6 Form Comparisons SONATA RONDO FORM – Movement III SONATA FORM – Movement ISectionExpoSiTionDevelopmentRecapItulationSubjectABA/BKeyTONICDOMVARIOUS
7 1st Movement Analysis Orchestral Exposition bars 1-66 Bars 1-8 Theme 1aA Major (Violin)Repeated by WWTheme 1b bars (violin)Rhythmic tune played by WW and stringsLinks 1st and 2nd Theme
8 1st Movement Analysis Orchestral Exposition bars 1-66 Second Subject – Theme 2a (1c) bars (Strings repeated by WW not in Dom at this stage)Lyrical in nature contrasts other themesBars – Theme 2aa (1d) bars energetic and vibrant dialogue between strings and WWCloses orchestral exposition
9 1st Movement Analysis Piano Exposition bars 67-156 Bars Theme 1aA Major (Piano with string acc.)Repeated version decorated hugelyTheme 1b bars 83-98(piano)Broken chord acc in pianoScales and sequences in RHLinks 1st and 2nd Theme – links to E Major
10 1st Movement Analysis Piano Exposition bars 67-156 Second Subject – Theme 2a (1c) bars (Piano with block chord) Repeated by Fl, Bassoon and 1st ViolinLyrical in nature contrasts other themesBars – Theme 2aa (1d) Melody on piano with Orchestral acc – Alberti bass
11 1st Movement Analysis Piano Exposition bars 67-148 Bars – Theme 2aa (1d)Piano plays wildly elaboratelyBars 137 – material from 1b acts as codetta still in E majorTheme 3a (1e) bars violinSounds like new section but appears later in recap so really belongs to the exposition. Describe it as a ‘development theme’.
12 1st Movement Analysis Development b156-170 Bars – Theme 3 (1e) Part OneExpecting keys of A Major-E Major – D Major – 3 related minors F# minor – C# minor – B minorHowever Mozart does not do thisKey sequence uses falling 3rds E-C and C-ABars 156 – 4 bar phrase in E minorDialogue between clarinets, bassoons and hornsBar 160Repeated above idea in C MajorBar 164Repeat but extend now in A minorPiano continues with idea ending in F MajorStrings take idea into D minor
13 1st Movement Analysis Development b170-198 Bars 170 – Theme 3 (1e) Part TwoC material developed againCl and fl play in canon at a 4thRH plays scales and semi-quaver passagesBars 177F major chord begins preparation to bring piece back to dominant E which brings music back to A for recap.B repeated E’s on low strings and hornsRH plays scales and broken chordsB197 rising chromatic scale
14 1st Movement Analysis Recapitulation b198-314 Fusion of orchestral and piano exposition.Material is shared between soloist and orchestraOld themes returned but with renewed freshness due to 1E being used in development.
15 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 b114B261 – Decorated piano passage with Cadenza in sight 1E is re-introduced1E played 3 times:SoloistClarinet and Bassoon4 part counterpoint with piano decoration
16 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 b283B284 – 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.
17 2nd Movement AdagioTernary form with 3 clear sections and a final codaSection A begins in F# minor and ends in A MajorSection B uses one new ideaSection A1 uses 2 of the A themes but alters the 3rd themeThis movement uses the siciliana form which is a swaying rhythm in compound or duple time.
18 2nd Movement Adagio Section A Bars b1-35 F# minor to A Major Section B – b35-53 A MajorSection A1 – b53-92 F# minorCoda - b92 – A Major
19 2nd Movement Adagio – Section A Theme 1 b1 – F# minor – 11 ½ barsDotted RhythmSyncopationWide leapsTheme 2 b12 F# minor – 8 barsNo piano2 bar idea played as sequence
20 2nd Movement Adagio – Section A Theme 3 b 20 – F# minor-A Major – 8 barsHomophonicTurn, dotted rhythmStaccato and chromatic movementRepeated notesModulation to A Major
21 2nd Movement Adagio – Section B Theme 4 – b35 – 4 bar melodyFlute playsTriplet arpeggios on clarinetRising scales on ww
22 2nd Movement Adagio – Section B Theme 4 – b39 – 4 bar melody repeatedPlayed on flute, piano and clarinet2nd clarinet plays 3rd below and LH plays arpeggiosHorns play dominant pedalB43 – 8 bars of dialogue and sequences on orchestra and pianoB51 – 2 bar transition from A Major to F# minor
23 2nd Movement Adagio – Section A1 Theme 1 - b53 – F# minorMusic of b1 repeated and extendedTheme 2 – b68 – F# minorRepeats music of b12Theme 3 – b76 – F# minor4 bar melody on piano and stringsRH plays semiquaver version of theme 2Grace notes and turns in RHAlberti bass on LH
24 2nd Movement Adagio – Section A1 B80 – 4 bars of LH and Bassoon in dialogueB84 – 8 bar link passage with wide leaps on pianoB88 – 4 bars repeated with wind accompaniment
25 2nd Movement CodaB92 – 8 bars theme 2 melody on flute with violin broken chordRepeated semi quavers on RH1st clarinet joins flute1st bassoon joins an octave lowerPerfect cadence - F# minor ending