Piano Concerto in G Major, K453,

a work for instruments (usually orchestra) that features a soloist or group of soloists like the sonata and symphony, the concerto is typically a cycle of several contrasting movements integrated tonally and often thematically. The individual movements are often built on recognized designs including sonata form, A B A, variations and rondo (such as A B A C A)

A Symphony The symphony features the entire orchestra, yet will contain passages for many solo instruments. A concerto is usually in three movements, fast, slow, fast, and it features a solo instrument.

Piano Concerto in G Major, K453

A Symphony The symphony features the entire orchestra, yet will contain passages for many solo instruments.

The first movement is what is sometimes called sonata-allegro, though you need to know that that means something different in a concerto than in a symphony.

In a concerto, the repeat of the exposition when then the solo instrument comes in, and the same themes are repeated, but not necessarily in the same order. And the solo instrument usually introduces some new themes of its own.

Double exposition—in which first the orchestra and then the instrumental soloist perform two separate expositions In a concerto featuring double exposition (which eventually became the norm in the Classical period), often only the initial orchestral exposition is a full one, meaning it introduces the main themes. The solo exposition that follows is not bound by the orchestra’s themes. The soloist does not necessarily repeat the orchestra’s themes - sometimes not even the main theme or they may be repeated, but not necessarily in the same order. The solo instrument usually introduces some new themes of its own. It's a much freer form than you find in a symphony. The two structures were developing concurrently, and double expositions in concertos actually predates first- movement sonata form as it became known in the Classical era:

The first movement, marked Allegro, contains an orchestral ritornello, a solo exposition, a development, and a recapitulation.

1:08 – Theme 2 0:06 – Theme 1 Timings based on Lang Lang youtube video How are Mozart’s themes different to Beethoven’s?

Theme 2 Theme 1

1:08 0:32 0:06 Timings based on Lang Lang youtube video How are Mozart’s themes different to Beethoven’s?

Very refined and understated compared to Beethoven – very gentle Less dynamic contrast More decorative More symmetrical and balanced and ‘well structured’?

2:06How is Theme 1 different on the piano?

2:06How is Theme 1 different on the piano? The solo exposition is similar to the original theme in that it also has woodwind accompaniment. It is different, however, in that it contains many virtuosic pianistic decorations. Mozart was fond of composing pieces that displayed his pianistic abilities. In this interpretation of theme 1, there are many added piano trills and also various scalar, arpeggiated, or chromatic lines which bring us in and out of the familiar theme (and transitional theme) that we were presented with in the original orchestral ritornello.

Following this, we hear a descending call and response type of line which is played back and forth between the woodwinds and the violins. This line eventually gains momentum by shortening the descending lines and by bringing in the piano to also play call and response figures with the strings and woodwinds.. The solo exposition is ended through a series of descending and ascending piano arpeggiations through major, minor, and diminished types of harmony. This final closing provides an obvious end with ii-V in D major. The closing does, however, leave us hanging for the next development section by briefly hitting the IV in D major (G) with the strings and woodwinds. This IV chord is followed by a short dramatic pause taking us into the development.

2:06 2:53 3:18 3:30 Very light and bouncy in texture. It is presented a second time with pianistic ornaments and woodwind accompaniment. Not as forceful as original theme Repeated in strings with piano accompaniment

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