The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.Ĭultural references The opening of the second movement in Mozart's handwriting. The soloist plays scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads back to the main theme. A "call and response" style is apparent, with the piano and ensemble exchanging themes. After a short cadenza, the piano joins in with a theme reminiscent of the finale of Michael Haydn Symphony No.18 in C major and further elaborates. The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. ![]() Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Then it modulates to G minor, then B-flat major, then F minor, which transitions to the third section of the movement. When familiar material returns, the music is now in the dominant keys of C minor and C major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. The second section introduces the solo piano and starts off in F major. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The first violins play a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. The opening section is for orchestra only and features muted strings. The Andante, in the subdominant key of F major, is in three parts. There is a cadenza at the end of the movement, although Mozart's original has been lost. The usual development and recapitulation follow. A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's Third Horn Concerto. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that foreshadows the main theme of the Symphony No. ![]() The piano then introduces new material in C major and begins transitioning to the dominant key of G major. The soloist plays a brief Eingang (a type of abbreviated cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The march returns, eventually transitioning to the entrance of the soloist. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve. The tempo marking is in Mozart's catalog of his own works, but not in the autograph manuscript. ![]() The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani and strings. Problems playing these files? See media help.
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