Written for his pupil Barbara Ployer to play, K. 449 is the first instrumental work by Mozart that shows the strong influence of his operatic writing. Beethoven was clearly impressed by them: even if the anecdotal story about his comments to Ferdinand Ries about No. 8, however, Mozart produced one of his early masterpieces, the "Jenamy" (formerly "Jeunehomme") concerto, No. Piano Concertos Nos. [1], Alan Tyson in his introduction to Dover Publications' facsimile of the autograph score (which today is in the Morgan Library & Museum in New York) comments that "Although K. 459 has at times been called a 'Coronation' concerto, this title has nearly always been applied to K. 537". 2, 3, and 4, all composed by 1766). With the exception of the two exceptionally fine early concertos K. 271 (Jeunehomme) and K. 414 (the "little A major"), all of his best examples are from later works. At the same concert, Mozart also played the Piano Concerto No. In addition to the preludial and expositional themes, the exposition typically contains various free sections that show off the piano; but, contrary to the popular conception of the piano concerto, and to how it developed in the nineteenth century, these sections are not merely empty displays, but rather, short sections that fit into the overall scheme. 11, 12, and 13] are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. 14 (K. 449) in E♭ major, ushers in a period of creativity that has certainly never been surpassed in piano concerto production. 3 in G, and Sonata No. [2]. The concerto is scored for solo piano, one flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani (in D, A), and strings. It is, in fact, so 'Mozartesque' that one might say that in it Mozart imitated himself—no difficult task for him. About 18 months after he arrived in Vienna, in the Autumn of 1782, Mozart wrote a series of three concertos for his own use in subscription concerts. Mozart strives to maintain an ideal balance between a symphony with occasional piano solos and a virtuoso piano fantasia with orchestral accompaniment, twin traps that later composers were not always able to avoid. Dover Publications, New York. Piano Concerto số 16, cung Rê trưởng, K. 451 là bản concerto dành cho piano của nhà soạn nhạc người Áo Wolfgang Amadeus Mozart.Tác phẩm được viết từ ngày 26 tháng 2 đến ngày 22 tháng 3 năm 1784, được công diễn lần đầu tiên vào ngày 31 tháng 3 cùng năm, … Sometimes, this bass was figured too, for example in the early edition of Nos. Mozart completed the concerto in January 1777, nine months after his Piano Concerto No. That this was Mozart's intention is implied by several lines of evidence. 23 in A major K. 488, one of the most consistently popular of his concertos, notable particularly for its poignant slow movement in F♯ minor, the only work he wrote in the key. 26 by D. N. Heinemann in Brussels; a few others were scattered around other museums. 44", K. 81/73l, may have been written by Wolfgang Amadeus Mozart in 1770 in Rome, although it has sometimes also been attributed to his father Leopold Mozart. 7 is for three (or two) pianos and orchestra, and No. The only exception to this rule is the dramatic intervention of the piano in the second bar of the Jeunehomme Concerto, which is, however, minor enough not to disturb the overall structure. However, against this must be set the fact that Mozart's own cadenzas are preserved for the majority of the concertos, and may have existed for others (e.g., the now missing cadenzas for No. The sorts of problems that exist are exemplified by the cadenzas written by the young Beethoven for No. I, mm. The concertos in major keys were undervalued in the 19th century. 21 (KV. However, while there are broad correspondences, this simple equation does not really do justice to the Mozartian scheme. The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani and strings.. 24 is legendary, his third concerto was clearly inspired by Mozart's No. The name Alte Mozart-Ausgabe is actually a modern invention to distinguish the edition from the second Mozart complete works edition, the Neue Mozart-Ausgabe; the publication title of Breitkopf & Härtel's edition was Wolfgang Amadeus Mozarts Werke. 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