Piano Concerto no 23 in A Major 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 Key TONIC DOM VARIOUS

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