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Mozart

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.

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Mozart

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  1. Mozart Piano Concerto no 23 in A Major

  2. 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

  3. 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.

  4. 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

  5. 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

  6. Form Comparisons SONATA RONDO FORM – Movement III SONATA FORM – Movement I

  7. 1st Movement AnalysisOrchestral 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

  8. 1st Movement AnalysisOrchestral 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

  9. 1st Movement AnalysisPiano 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

  10. 1st Movement AnalysisPiano 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

  11. 1st Movement AnalysisPiano 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’.

  12. 1st Movement AnalysisDevelopment 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

  13. 1st Movement AnalysisDevelopment 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

  14. 1st Movement AnalysisRecapitulation 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.

  15. 1st Movement AnalysisRecapitulation 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

  16. 1st Movement AnalysisRecapitulation 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.

  17. 2nd MovementAdagio • 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.

  18. 2nd MovementAdagio • 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

  19. 2nd MovementAdagio – 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

  20. 2nd MovementAdagio – 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

  21. 2nd MovementAdagio – Section B • Theme 4 – b35 – 4 bar melody • Flute plays • Triplet arpeggios on clarinet • Rising scales on ww

  22. 2nd MovementAdagio – 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

  23. 2nd MovementAdagio – 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

  24. 2nd MovementAdagio – 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

  25. 2nd MovementCoda • 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

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