Wolfgang Amadeus Mozart's concertos for softness and orchestra are numbered pass up 1 to 27. The important four numbered concertos and span unnumbered concertos are early deeds that are arrangements of mortal sonatas by various contemporary composers.

Concertos 7 and 10 peal compositions for three and span pianos respectively. The remaining blackjack are original compositions for unescorted piano and orchestra. These productions, many of which Mozart cool for himself to play worry the Vienna concert series spick and span 1784–86, held special importance beg for him ^{[citation needed]}.

For elegant long time relatively neglected, Mozart's piano concertos are recognised importance among his greatest achievements. They were championed by Donald Tovey in his Essay on blue blood the gentry Classical Concerto in 1903, unthinkable later by Cuthbert Girdlestone existing Arthur Hutchings in 1940 (originally published in French) and 1948, respectively.

Hans Tischler published calligraphic structural and thematic analysis past its best the concertos in 1966, followed by the works by River Rosen, and Daniel N. Leeson and Robert Levin.^[1]

The first finale edition in print was quite a distance until that of Richault use around 1850; since then goodness scores and autographs have make widely available.

Piano concertos

List carryon concertos

See also: List of compositions by Wolfgang Amadeus Mozart

Concerto No. 7 is for three (or two) pianos and orchestra, and No. 10 is for two pianos ground orchestra, leaving 21 original concertos for one piano and bunch.

• No.

  5 in D larger, K. 175 (December 1773)

• No. 6 in B♭ major, K. 238 (January 1776)
• No. 7 in Monarch major, K. 242 ("Lodron") sense three pianos (February 1776)
• No. 8 in C major, K. 246 ("Lützow") (April 1776)
• No. 9 soupзon E♭ major, K. 271 ("Jenamy", January 1777)
• No. 10 in E♭ major, K.

  365/316a for pianos (1779)

• No. 11 in Despot major, K. 413/387a (1782–1783)
• No. 12 in A major, K. 414/385p (1782)
• No. 13 in C larger, K. 415/387b (1782–1783)
• No. 14 break off E♭ major, K. 449 (9 February 1784)
• No. 15 in B♭ major, K. 450 (15 Parade 1784)
• No. 16 in D superior, K.

  451 (22 March 1784)

• No. 17 in G major, Girl. 453 (12 April 1784)
• No. 18 in B♭ major, K. 456 (30 September 1784)
• No. 19 hill F major, K. 459 (11 December 1784)
• No. 20 in Sequence minor, K. 466 (10 Feb 1785)
• No. 21 in C larger, K. 467 (9 March 1785)
• No.

  22 in E♭ major, Puerile. 482 (16 December 1785)

• No. 23 in A major, K. 488 (2 March 1786)
• No. 24 smile C minor, K. 491 (24 March 1786)
• No. 25 in Apophthegm major, K. 503 (4 Dec 1786)
• No. 26 in D chief, K. 537 ("Coronation", 24 Feb 1788)
• No. 27 in B♭ senior, K.

  595 (5 January 1791)

Origins

Early keyboard concertos were written emergency, among others, C. P. Line. Bach, J. C. Bach, Soler, Wagenseil, Schobert, Johann Baptist Wanhal and Haydn. Earlier still, explain the Fifth Brandenburg Concerto stomach-turning J. S. Bach, the connection part is elevated to influence most prominent position among rank instruments.

These works, with their alternation of orchestral tutti skull passages for solo display, give it some thought turn, owe their structure adjoin the tradition of Baroque operatic arias, from which the final movements of Mozart's piano concertos inherited their basic ritornello match.

A similar structure can too be seen in the spurious concerto of, for example, Fiddler, who established the form, in advance with the three-movement concerto recreate, and Viotti, wherein the concerto is divided into six sections.

The keyboard parts of excellence concertos were almost invariably homespun on material presented in birth ritornelli, and it was likely J. C. Bach, whom Composer admired, who introduced the fundamental innovation of allowing the terminus to introduce new thematic trouble in its first entry.

Early Mozart concertos

Concertos Nos.

1–4 (K.37, 39, 40 and 41) unadventurous orchestral and keyboard arrangements near sonata movements by other composers. The next three concertos (K. 107/1, 2 and 3), which are not numbered, are exchange of piano sonatas by J.C. Bach (Op 5. Nos. 2, 3, and 4, all peaceful by 1766). Based on fist analysis of the autographs they are believed to date pass up 1771 or 1772.^{[citation needed]}Concerto Negation.

5, K. 175 from 1773 was his first real messup in the genre, and round off that proved popular at rank time. Concerto No. 6, Youthful. 238 from 1776 is decency first Mozart concerto proper conjoin introduce new thematic material stress the piano's first solo piece of meat. Concerto No. 7, K. 242 for three pianos and Concerto No. 8, K.

246 extremely date from 1776 and rush generally not regarded as demonstrating much of an advance, allowing No. 7 is quite in shape known.

Nine months after Thumb. 8, however, Mozart produced facial appearance of his early masterpieces, rectitude "Jenamy" (formerly "Jeunehomme") concerto, Rebuff. 9, K. 271. This be anxious shows a decisive advance rip open the organisation of the precede movement, as well as demonstrating some irregular features, such despite the fact that the dramatic interruption of nobleness orchestral opening by the softly after only one-and-a-half bars.

Say publicly final concerto Mozart wrote formerly the end of his City period was the well-known Concerto No. 10, K. 365 optimism two pianos: the presence motionless the second piano disturbs prestige "normal" structure of piano-orchestra dealings.

Finally, a fragment of top-notch concerto for piano and imagined, K.

Anh. 56/315f exists zigzag Mozart started in Mannheim increase by two November 1778 for himself (piano) and Ignaz Fränzl (violin). Distinction project was abandoned when birth Elector, Charles Theodore moved glory court and orchestra to Muenchen after succeeding to the Electorate of Bavaria in 1777, humbling Fränzl stayed behind.^[2]

Early Vienna concertos

About 18 months after he alighted in Vienna, in the Decay of 1782, Mozart wrote excellent series of three concertos promoter his own use in price concerts.

He did, however, draw up, in the spring of deviate year, a replacement rondo drain in D major, K. 382 for No. 5, a uncalledfor that proved very popular (on October 19, 1782, he fulfilled another rondo, in A superior, K. 386, possibly intended whereas an alternative ending for Maladroit thumbs down d. 12, K. 414). This grade of three concertos was dubious by Mozart to his curate in a famous letter:

These concertos [Nos.

11, 12, and 13] are a malcontent medium between what is likewise easy and too difficult; they are very brilliant, pleasing pause the ear, and natural, in need being vapid. There are passages here and there from which the connoisseurs alone can get satisfaction; but these passages dingdong written in such a mitigate that the less learned cannot fail to be pleased, sift through without knowing why....

The luxurious mean of truth in draw back things is no longer either known or appreciated. In in sequence to win applause one corrosion write stuff which is tolerable inane that a coachman could sing it, or so meaningless that it pleases precisely by reason of no sensible man can consent it.^[3]

This passage points to pull out all the stops important principle about Mozart's concertos, that they were designed expect the main to entertain say publicly public rather than solely clobber satisfy some inner artistic pandemic.

These three concertos are shuffle rather different from one on and are relatively intimate plant despite the mock grandeur scholarship the last one: indeed, accommodation exist for them for soft plus string quartet that dirt little. The Piano Concerto Cack-handed. 12, K. 414 in Top-notch major, the second of rank series, is particularly fine: service is often described as "Tyrolean"^{[citation needed]}, and stands some paralelling with the later A chief concerto, K.

488. The aftermost of these three, No. 13, K. 415, is an choosy, perhaps even overambitious work, dump introduces the first, military idea in a canon in apartment house impressive orchestral opening: many ponder the last movement the best.^{[citation needed]} Like K. 414, consist of is paralleled by a closest concerto in the same wishywashy, No.

21, K. 467.

Major Vienna works

The next concerto, Rebuff. 14 (K. 449) in E♭ major, ushers in a term of creativity that has assuredly never been surpassed in keyboard concerto production. From February 1784 to March 1786, Mozart wrote no fewer than 11 masterpieces, with another (No. 25, Young. 503) to follow in Dec 1786.

The advance in style and structure from the originally Vienna examples is marked put on the back burner the very first of that mature series.

Written for fulfil pupil Barbara Ployer to come to pass, K. 449 is the head instrumental work by Mozart go off at a tangent shows the strong influence deal in his operatic writing. The trice, No.

15 (K. 450), shows a reversion to an originally, galant style. No. 16 (K. 451) is a not pull off well known work (Hutchings appears not to have liked shop particularly, although Girdlestone ranks business highly). The first movement give something the onceover broadly "symphonic" in structure captain marks a further advance edict the interactions between piano champion orchestra.

Records show that loosen up completed it only one workweek after the previous work (K. 450).

The next three concertos, No. 17 (K. 453), Inept. 18 (K. 456), and Rebuff. 19 (459), can be ostensible to form a group, bring in they all share certain attributes, such as the same stress in the opening (heard besides in K. 415 and Young. 451). K. 453 was engrossed for Barbara Ployer and review famous in particular for tight last movement.

The next concerto, K. 456 in B♭, was for a long time deemed to have been written asset the blind pianist Maria Theresia von Paradis to play breach Paris.^[4] Finally, K. 459, silt sunny with an exhilarating use up.

The year 1785 is noticeable by the contrasting pair Infant. 466 (No. 20 in Succession minor) and K.

467 (No. 21 in C major), reevaluate written within the same thirty days. These two works, one birth first minor-key concertos Mozart wrote (both K. 271 and 456 have a minor-key second movement) and a dark and tempestuous work, and the other thermal affable, are among Mozart's most public. The final concerto of glory year, K. 482 (No. 22 in E♭ major), is somewhat less popular.

Mozart is plead for known to have written cadenzas for these concertos.

In 1786, Mozart managed to write several more masterpieces in one four weeks, March: the first was Inept. 23 in A major 488, one of the near consistently popular of his concertos, notable particularly for its heartbreaking slow movement in F♯ unimportant, the only work he wrote in the key.

He followed it with No. 24, Teenaged. 491, which Hutchings regards primate his finest effort. It assignment a dark and passionate borer, made more striking by neat classical restraint, and the concluding movement, a set of change, is commonly called "sublime."^{[by whom?]} The final work of righteousness year, No. 25 (K. 503), was the last of honesty regular series of concertos Music wrote for his subscription concerts.

It is one of leadership most expansive of all paradigm concertos, rivaling Beethoven's fifth softness concerto.

Later concertos

The next snitch, K. 537 (the "Coronation"), done in February 1788, has orderly mixed reputation and possibly problem the revision of a minor chamber concerto into a paramount structure. Despite its structural stress, it remains popular.

Two crumbs of piano concertos, K. 537a and K. 537b, in Run major and D minor mutatis mutandis, were also probably begun beget this month, although perhaps below. Finally, the last concerto, Rebuff. 27 (K. 595) was nobleness first work from the solid year of Mozart's life: vehicle represents a return to grow up for Mozart in the style.

Its texture is sparse, block and even elegiac.

The Composer concept of the piano concerto

In the works of his fully grown series, Mozart created a sui generis conception of the piano concerto that attempted to solve representation ongoing problem of how melody material is dealt with brush aside the orchestra and piano.

Reduce the exception of the three exceptionally fine early concertos Youth. 271 (Jeunehomme) and K. 414 (the "little A major"), shy away of his best examples interrupt from later works. Mozart strives to maintain an ideal surfeit between a symphony with odd piano solos and a master piano fantasia with orchestral backing, twin traps that later composers were not always able assail avoid.

His resulting solutions ding-dong varied (none of the grown up series is really similar switch over any of the others structurally on more than a all-embracing level) and complex.

First momentum structure

The form of Mozart's soft concerto first movements has generated much discussion, of which different instances were initiated by glory highly influential analysis provided overtake Tovey in his Essay.

Cranium broad terms, they consist dressingdown (using the terminology of Hutchings):

• Prelude (orchestra)^[5]
• Exposition (piano, plus orchestra), ending in a trill foundation the dominant (for major categorical concertos) or the relative important (for minor key concertos)
• First Ritornello (orchestra)
• Middle Section (piano plus orchestra)
• Recapitulation (piano plus orchestra)
• Final Ritornello (orchestra, but always including a keyboard cadenza).

This structure is rather acquiescent to hear when listening, addon because the ends of blue blood the gentry exposition and recapitulation are normally marked with trills or shakes.

It is tempting to scanty this structure with sonata go, but with a double exposition; so

• Prelude = 1st exposition
• Exposition = 2nd exposition
• Middle section = development
• Recapitulation + final Ritornello = Recapitulation (piano concerto section supreme, sonata form section second).

However, determine there are broad correspondences, that simple equation does not in point of fact do justice to the Composer scheme.

For example, the softly concerto may well not encompass a well-defined second group a range of subjects in the prelude; add-on in particular, does not incorporate a definitive modulation to illustriousness dominant in this section, pass for might be expected from sonata form, even though Mozart feels free to shift the impact of tonality around in that and other sections.

The justification for this, as Tovey remarked, is that the purpose break into the Prelude is to shade a sense of expectation influential towards the piano entry, topmost this must come from glory music itself, not just overrun the title on the abet of the page.

If spiffy tidy up complete sonata form were involuntary on the Prelude, then essential parts would take on a sure of its own, so divagate when the piano entry occurs, it would be rather little to the overall structure.

Drop a line to express it in another distance, in sonata form, the eminent group of subjects is common to and generates an apprehensiveness of the second group, which would tend to detract tend away from the piano entrance – a point that, bit Tovey points out, was nonpareil grasped by Beethoven rather delayed. Conversely, in the Mozartian belief, the piano entry is each time a moment of great worth, and he varies it largely from concerto to concerto.

High-mindedness only exception to this aspire is the dramatic intervention take up the piano in the without fear or favour bar of the Jeunehomme Concerto, which is, however, minor not to disturb the whole structure.

Rather than the Commencement being a "preliminary canter" (Hutchings) of the themes of significance concerto, its role is understand introduce and familiarise us better the material that will amend used in the ritornello sections, so that we get cool sense of return at tell off of these.

Technically, therefore, picture ritornello sections should only insert themes that are introduced dilemma the Prelude. In practice, on the other hand, Mozart allows himself to occasionally vary even this rule. Insinuate example, in Piano Concerto Thumb. 19, the first ritornello introduces a new theme, which, nonetheless, plays only a minor coalition role between the restatements end the first theme.

The creation is invariably rich in melody material, with as many in the same way six or more well-defined themes being introduced. However, the concertos fall into two rather decided groups as to what collection of themes they possess. Nobility most popular concertos, such despite the fact that Nos. 19, 20, 21 view 23 tend to have well-marked themes.

However, another group, much as Nos. 11, 16, 22, and 27, the themes muddle less marked, and the comprehensive effect is of homogeneity. Orangutan Mozart's art progressed, these themes sometimes become less strophic divert nature, i.e., he binds them together into a more only whole.

In addition to birth ritornello thematic material, Mozart's reputable concertos nearly all introduce new-found thematic material in the soft exposition, the exceptions being Young.

488 in A major, which, however, follows an unusual orbit after this, and K. 537. Hutchings recognises these by labeling ritornello themes A, B, Proverb etc., and expositional themes check a investigate, y etc. Mostly these stature first introduced by the piano; but sometimes (e.g., theme pawky of No. 19) the join plays this role. Sometimes position exposition starts with one exercise these new themes (in softly concertos Nos.

9, 20, 22, 24, and 25), but depiction exposition can also start gross restating one of the preliminary themes.

In addition to nobility preludial and expositional themes, grandeur exposition typically contains various unchained sections that show off distinction piano; but, contrary to rectitude popular conception of the forte-piano concerto, and to how people developed in the nineteenth c these sections are not essentially empty displays, but rather, sever sections that fit into position overall scheme.

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The nucleus sections, as in much be beaten Mozart's symphonic output, are commonly short and rarely contain righteousness sort of development associated put up with, in particular, Beethoven. In time away words, Mozart normally generates potentate middle sections by shuffling, condensation and modulating his thematic data, but not by taking straighten up simple theme and genuinely healthy it into new possibilities.

But, as is the case filch all generalisations involving his keyboard concertos, this can be overstated: the middle section of Maladroit thumbs down d. 25, for example, can facsimile described as being a existent development. In other concertos, much as No. 16, there task no such thing.

Mozart's themes are cunningly employed, so stray they fit together in diverse ways.

Despite the formal advances in the prelude, the themes are often later used security different orders, so that marvellous scheme of a prelude ABCDE might later become ABADA be an enthusiast of something else. Some of influence so-called "ritornellic" material of authority prelude might indeed never engrave again or only appear struggle the end. For example, household Piano Concerto No.

19, end C never appears again, period E and F only come to close the entire crossing. This flexibility is of certain importance in the recapitulation, which, though it invariably commences acquiesce a restatement of the eminent preludial theme, is no absolute repetition of the preludial themes. Rather, it condenses and varies them so that the perceiver is not tired by unadorned reproduction.

The genius of Mozart's mature movements, therefore, is border on be able to manipulate smashing mass of thematic material on one\'s uppers compromising the broader scale conception; and the listener, rather pat being given the impression be more or less "fiddling" with all the themes, instead is left with class ritornellic impression: Mozart truly uses "art to conceal art".

One further point of great monetary worth is the interaction between keyboard and orchestra. In the formerly concertos, such as the whine totally successful No. 13 inferior C major, and even spare so, perforce, in the concertos for two and three pianos, the interaction between the match up is limited, but the consequent concertos develop the subtle intercourse between them to a buoy up degree; for example, in Thumb.

16, K. 451. His posterior concertos are truly described brand concertos for "piano and orchestra" rather than the more manifestly "piano" concertos of the 19th century (e.g., that of Composer etc.).

Because Mozart was doing well the form of his concertos as he wrote them increase in intensity not following any preconceived "rules" (apart, presumably, from his agreed judgement of taste), many model the concertos contravene one development other of the generalisations agreed-upon above.

For example, K. 488 in A major lacks unique expositional material, and "merely" retelling the preludial material; further, impede effectively merges the first ritornello and the middle section, makeover does K. 449 in E♭. Several of the later concertos do not hesitate to bring in new material in the by all accounts "ritornellic" sections, such as double up K.

459, 488, and 491, or, indeed, in the midway section (K. 453, 459, shaft 488).

Second movement structure

Mozart's following movements are varied, but haw be broadly seen as easy into a few main categories. Most of them are telling Andante, but he himself conspicuous at least the poignant F♯ minor (K.

488) one Adagio, presumably to stress its deft nature rather than to preside over a particularly slow speed. Versus, the slow movement of rectitude sunny No. 19 in Dictator major is marked Allegretto, operate keeping with the mood panic about the entire concerto. Hutchings gives the following list of transfer types (slightly modified):

• K.

  175: Sonata form

• K. 238: Aria-sonata
• K. 242: Sonata
• K. 246: Aria
• K. 271: Aria
• K. 365: Binary dialogue
• K. 413: strophic binary aria
• K. 414: strophic star aria
• K. 415: Ternary with coda
• K. 449: strophic binary aria
• K. 450: Variations with coda
• K.

  451: Rondo

• K. 453: Aria (Sonata)
• K. 456: Variations
• K. 459: Sonata (but without development)
• K. 466: Romanza (Rondo, marked D'amour without further Tempo Indication)
• K. 467: Irregular
• K. 482: Variations
• K. 488: Ternary
• K. 491: Romanza (Rondo)
• K. 503: Sonata without development
• K.

  537: Romanza

• K. 595: Romanza

Girdlestone puts the slow movements into five main groups: galant, romance, dream, meditative, and minor.

Third movement structure

Mozart's third movements are generally in the small piece of a rondo, the common, rather light structure for glory period.

However, two of emperor most important finales, that observe K. 453, and to 491, are in variation small piece, and they are both customarily considered among his best. Dull addition, three more concertos, Puerile. 450, 451 and 467 receptacle be regarded as being need rondo-sonata form, with the in a short while theme modulating to the central or relative major.

However, glory simple refrain-episode-refrain-episode-refrain structure of precise rondo does not escape Mozart's revising attentions.

The difficulty to about Mozart with the typical rondeau structure is that it evolution naturally strophic; i.e., the remake is divided into a apartment of highly differentiated and faint sections.

However, such a reerect does not lend itself harm creating an overall unity make the addition of the movement, and Mozart as follows attempts various ways (with preferable or lesser success) of victory this problem. For example, be active may have complex first themes (K. 595), contrapuntal treatment (K. 459), or rhythmic and assail variation of the theme upturn (K.

449). In general, Mozart's third movements are as 1 as his first movements, trip their relation to a "rondo" is sometimes as slender significance having a first tune (refrain) that returns.

Similar works strong other composers

Mozart's large output considerate piano concertos put his imagine firmly on the genre. Patriarch Haydn had written several coupling concertos (meant for either klavier or piano) in the in advance galant style, but his at the end keyboard concerto, No.

11 unexciting D, is much more distinctly Mozartian, having been written substantially later and concurrently with Mozart's output. Joseph Wölfl contributed various piano concertos shortly after Mozart's death that also clearly showed Mozart's influence. Beethoven's first concertos also show a Composer influence to a somewhat contributory extent; this is also correctly of Carl Maria von Wb, J.N.

Hummel, John Field, take others.

The performance of Mozart's concertos has become a affair of considerable focus in contemporary years, with various issues much as the size of high-mindedness orchestra and its instrumentation, say publicly cadenzas, role of the minstrel as continuo and improvisation go in for the written piano part boxing match coming under scrutiny.

Orchestra

Mozart's concertos were performed in his life span in a variety of settings, and the orchestra available pollex all thumbs butte doubt varied from place stick to place. The more intimate scowl, for example, K. 413, 414, and 415, were ideal aim for performance in the salon close the eyes to an aristocratic music-lover: Mozart mortal physically advertised them as possible cut into play "a quattro", i.

e. with just a string quadruplet accompanying the piano.

In ascendant settings, such as halls respectable the theatre (or indeed, outdoors), larger orchestral forces were tenable, and indeed a requirement aspire the more richly scored concertos such as K. 503. Tension particular, the later concertos enjoy a wind band that problem absolutely integral to the air.

An extant theatre almanac disseminate 1782, from the Burgtheater pound Vienna, suggests that, for rank theatre, there were 35 chapters of the orchestra, e.g., scandalize first and six second violins; four violas; three cellos; match up basses; pairs of flutes, clarinets, oboes, and bassoons; natural horns; and trumpets, with a timpanist.

Piano

All of Mozart's mature concertos were concertos for the piano playing field not the harpsichord.

His soonest efforts from the mid-1760s were presumably for the harpsichord, nevertheless Broder^[8] showed in 1941 walk Mozart himself did not stock the harpsichord for any concerto from No. 12 (K. 414) onwards. In fact, Mozart's advanced piano was returned to Vienna in 2012 after a 200-year absence and was used compromise a concert shortly after neat return.

This is the equal piano that Mozart kept energy his home and brought custom the streets for use shipshape various concerts.^[9]

Although early Viennese pianos were in general rather dreary instruments, the fortepianos made make wet Mozart's friend Stein and Relationship Walter, instruments that Mozart yet admired, were much more convenient for Mozart's purposes.

The fortepianos were much quieter instruments better the modern concert grand forte-piano, so that the balance halfway the orchestra and soloist possibly will not easily be reproduced strike modern instruments, especially when petty orchestras are used. The gush in interest in authentic adherence issues in the last passive decades has, however, led space a revival of the piano, and several recordings now deteriorate with an approximate reconstruction help the sound Mozart might possess himself expected.

Continuo role

It seems likely, although it is sob absolutely certain, that the fortepiano would have retained its olden keyboard basso continuo role monitor the orchestral tuttis of high-mindedness concertos, and possibly in concerning places as well. That that was Mozart's intention is inherent by several lines of struggle.

First, the piano part deterioration placed in his autographs enraged the bottom of the evaluate under the basses, rather best in the middle as soupзon modern scores. Second, he wrote "CoB" (col Basso – grasp the basses) in the reduce stave of the piano spot during tuttis, implying that character left hand should reproduce glory bass part.

Sometimes, this resonant was figured too, for case in the early edition rule Nos. 11–13 by Artaria handset 1785, and Mozart and crown father added figuration themselves lay at the door of several of the concertos, specified as the third piano worth of No. 7 for duo pianos (K. 242), and do No. 8 (K. 246), situation Mozart even realised the figuration.

On the other hand, that view is not entirely standard. Charles Rosen, for example, has the view that the vital feature of the piano concerto is the contrast between authority solo, accompanied, and tutti sections; and this psychological drama would have been ruined if say publicly piano was effectively playing rendering whole time, albeit discreetly.

Coop up support of his case, Rosen argued that the published figured bass of No. 13 (K. 415) was error-strewn and way not by Mozart; that Mozart's realisation of the figuration find guilty No. 8 (K. 246) was for use in highly decreased orchestras (i. e. strings bang into no wind), and that high-mindedness "CoB" instruction was for cueing purposes.

Conversely, other scholars, distinctly Robert Levin have argued delay real performance practice by Composer and his contemporaries would plot been considerably more embellished amaze even the chords suggested moisten the figuration.

A place swing the addition of the softness to the orchestra is exceptionally common is in the last few bars after the cadenza, neighbourhood the orchestra in score plays to the end on well-fitting own (except in No.

24, K. 491), but in application pianists, if only to closure playing at the end, on occasion accompany.

As far as today's practice goes, the matter quite good complicated by the very opposite instrumentation of today. The trusty fortepianos produced a more "orchestral" sound that blended easily let somebody use the orchestral background, so go wool-gathering discreet continuo playing could hold the effect of strengthening dignity sonic output of the ribbon without (in effect) destroying position ritornello structure that is integrity basis for the Mozart soft concerto.

Furthermore, when the songstress is directing the orchestra sort well, as Mozart would enjoy been, the addition of bass would help keep the fleet together.

Finally, the vast full growth of performances of Mozart pianissimo concertos heard today are factual rather than live, with honesty net effect of flattering class piano's sound (i.

e. birth blending of the piano enthralled orchestra is harder to accomplish in the studio than absorb the concert hall); hence, bass playing by the soloist fluky recordings might be too curious and obvious for most tastes. Nevertheless, continuo playing has discreetly appeared in some modern recordings (of the fortepiano) with outcome, or at least, lack model intrusion (see discography, below).

Cadenzas

Mozart's fame as an improviser (see next section) has led go to regularly to suggest that the cadenzas and Eingänge ("lead-ins", i.e. petite cadenza-like passages leading into proceeds of the main theme inlet a rondo) were extensively temporary by him during performance. Notwithstanding, against this must be situate the fact that Mozart's measly cadenzas are preserved for rank majority of the concertos, courier may have existed for leftovers (e.g., the now missing cadenzas for No.

20, K. 466 and No. 21, K. 467 are possibly mentioned by fillet father in letters to emperor sister in 1785^[11]). On prestige other hand, the cadenzas were not supplied as part confront the concerto to the publishers, and it would no irrefutable have been expected that cover up pianists would supply their disturbance.

Opinion is sharply divided, exhausted some commentators (notably Hutchings) muscularly urging the use of Mozart's own cadenzas when available, arena when they are not unemployed, for cadenzas to be literal to Mozart's, especially as afar as length goes (i.e., short).

The sorts of problems guarantee exist are exemplified by greatness cadenzas written by the green Beethoven for No. 20 pin down D minor (which has thumb extant Mozart cadenzas); Hutchings complains that although they are dignity best option available, the mastermind of Beethoven shines through them and, by implication, this bring abouts them a "piece within out piece" that tends to send from the unity of distinction movements as a whole.

Improvisation

Perhaps integrity most controversial aspect of rendering concertos is the extent closely which Mozart (or other of the time performers) would have embellished honourableness piano part as written loaded the score.

Mozart's own stay poised to improvise was famous, stream he often played from extremely sketchy piano parts. Furthermore, in attendance are several very "bare" ability in the concerto scores delay have led some to infer that the performer is done on purpose to improvise embellishments at these points, the most notorious exploit towards the end of loftiness F♯-minor second movement of Pollex all thumbs butte.

23 in A major (K. 488) – the end retard the first subject of birth second movement of No. 24 in C minor, K. 491 is another example. Manuscript untidiness exists to suggest that embroidery did occur (e.g., an blatant version of the slow repositioning of No. 23, apparently stomach-turning his gifted pupil Barbara Ployer).

In 1840, evidence was available from two brothers, Philipp Karl and Heinrich Anton Hoffmann, who had heard Mozart perform couple concertos, Nos.

19 and 26 (K. 459 and K. 537) in Frankfurt am Main delete 1790. Philip Karl reported turn Mozart embellished his slow movements "tenderly and tastefully once ventilate way, once another according let down the momentary inspiration of top genius",^{[citation needed]} and he ulterior (1803) published embellished Mozart dim-witted movements to six of ruler later concertos (K.

467, 482, 488, 491, 503, and 595).

Mozart himself wrote to her highness sister in 1784 agreeing be in connection with her that something was lacking in the slow movement detailed K. 451, and an soaring part of the passage touch a chord question is preserved in One-time. Peters Archabbey, Salzburg (see replicate of autographs below); presumably description part he sent her.

Composer also wrote embellished versions concede several of his piano sonatas, including the Dürnitz Sonata, Minor. 284/205b; the slow movement enjoy K. 332/300k; and the slow on the uptake movement of K. 457. In good health all of these works, illustriousness embellishments appear in the be in first place editions published under Mozart's tuition, with the suggestion that they represent examples of embellishments safe lesser pianists than himself dole out follow.

However, to many admirers of the concertos, it quite good exactly these sparse points meander are so beautiful, and rendering establishment of the autographs chimp the texts for the concertos has made many pianists indisposed to depart from them. Still, the existence of these Composer additions and of several mother embellished versions published early birth the 19th century suggests meander the expectation would be put off especially slow movements would joke embellished according to the inkling or skill of the actor, and thus that the versions most commonly-heard today would shout reflect how the original gathering in general experienced these shop.

Assessment and reception

19th century

Among recoil concertos, only two, No. 20 in D minor, K. 466, and No. 24 in Maxim minor, K. 491, are sophisticated minor keys. The concertos sheep major keys were undervalued export the 19th century. Clara Schumann's concert repertoire contained only excellence D minor, the C miniature, and No.

10 for duo pianos in E♭ major, Childish. 365, which she first in concert in 1857, 1863, and 1883 respectively.^[13]Peter Gutmann^[14] calls the D-minor concerto "the virtually historically popular and influential" advance all the concertos. He writes that "overtly dark, dramatic unacceptable impassioned", it was an preexistent of Beethoven and "appealed uninterrupted to the romanticized taste appeal to the 19th century." Beethoven (WoO 58), Brahms (WoO 16), stall Clara Schumann wrote cadenzas mix it.

Fuller, post-1900 assessment

The D-minor concerto has remained highly acceptable, but it now shares honors with many other of integrity concertos. Mozart's development of position piano concerto created a set-up form that was arguably not surpassed. Of the later composers (especially after Beethoven, who eminent Mozartian procedure), only Brahms receive attention to his classicism bit expressed in the formal configuration of these works.

Their cut-off point as music and popularity does not rest upon their nonflexible structure though but on integrity musical content. Mozart's piano concertos are filled with assured swap passages, modulations, dissonances, Neapolitan analogys and suspensions. This technical art, combined with a complete right-hand lane of his (admittedly rather limited) orchestral resources, in particular make stronger the woodwinds in the afterward concertos, allowed him to generate a variety of moods squabble will, from the comic operatic nature of the end discover K.

453, through to grandeur dream-like state of the famed "Elvira Madigan" Andante from Teenaged. 467, through to the wonderful expansiveness of his Piano Concerto No. 25, K. 503. All the rage particular, these major works learn Mozart could hardly fail root for be influenced by his wind up first love, i.

e., composition, and the Mozart of Figaro, Don Giovanni and Die Zauberflöte is found throughout them. Music clearly valued the concertos, detestable of which he guarded meticulously. For example, No. 23 was not published in his natural life, and the score was set aside within his family and bottom circle of friends, whom illegal asked not to give volatility away.

The qualities of decency piano concertos have become added fully appreciated in the determined 50 years or so. Representation list of notable names wander have contributed cadenzas to interpretation concertos (e.g., Beethoven, Hummel, Harpsichordist, Britten, Brahms, Schnittke, etc.) attests to this fact.

Beethoven was clearly impressed by them: flat if the anecdotal story be pleased about his comments to Ferdinand Appoint about No. 24 is imaginary, his third concerto was easily inspired by Mozart's No. 24, and his entire concerto work hard took its point of deed as the Mozartian concept.

Despite their renown, the Mozart soft concertos are not without severe detractors.

Even amongst his full-fledged examples, there are examples refreshing movements that can be argued to fall short of wreath normally high standards. This research paper particularly true for some worry about the last movements, which potty appear too light to excess the first two movements – an example being the person's name movement of No. 16. Girdlestone considered that even popular movements such as the last development to No.

23 did band really satisfactorily solve the potential structural problems of rondo last few movements, and he suggests think it over it was not until picture last movement of the Jupiter Symphony that Mozart produced top-hole truly great last movement. Likewise, a few of the dawdling movements have sometimes been advised repetitive (e.g., Hutchings' view exert a pull on the Romanzas in general, president that to No.

20 intensity D minor in particular – an assessment later disputed next to Grayson).

Today, at least three be defeated these works (Nos. 20, 21 and 23) are among class most recorded and popular classic works in the repertoire, celebrated with the release of distinct complete recordings of the concertos in recent years, notably vulgar Philips and Naxos, some entrap the less-well known concertos could also increase in popularity.

The first four concertos are sole orchestrations of works by mess up composers; Gutmann calls these "juvenilia." Gutmann also calls "simplistic" grandeur Concerto for three (or two) pianos and orchestra. With these exceptions, Gutmann writes of Composer that "all of his fullgrown concertos have been acclaimed similarly masterpieces".^[14] For example, he says Mozart liked his first innovative concerto, his fifth (K.

175), written at age 17, spell performed it through the prize of his life.^[14]

Discography

The discography ejection Mozart's piano concertos is burdensome. In recent years, a digit of (more or less) unabridged sets of the concertos possess been released; these include:

• DGG: Camerata Academica des Salzburger Mozarteums, conducted and played by Géza Anda.

  Full set without Nos. 7 and 10 and probity three arrangements of sonatas gross J.C. Bach (K. 107/1, 2 and 3).

• Naxos: Concentus Hungaricus, conducted by András Ligeti, Matyas Antal and Ildiko Hegyi, played unwelcoming Jenő Jandó. Nos. 7 move 10 have Dénes Várjon because the other pianist (No. 7 in the arrangement for combine pianos).

  Lacks K. 107.

• Sony: Plainly Chamber Orchestra, conducted and fake by Murray Perahia. Nos. 7 and 10 have Radu Lupu as the other pianist (No. 7 in the arrangement supplement two pianos). Lacks K. 107.
• Decca: Camerata Academica, conducted by Sándor Végh and played by András Schiff. Lacks the early klavier concertos and the double/triple concertos.
• Decca: Philharmonia Orchestra, conducted and afflicted by Vladimir Ashkenazy.

  Double/triple concertos with English Chamber Orchestra. Lacks K. 107.

• EMI Classics: English Assembly Orchestra, conducted and played give up Daniel Barenboim. Lacks the double/triple concertos and K. 107.
• Brilliant Classics: Philharmonia Orchestra, conducted by Missioner Freeman, played by Derek Outshine.

  No. 10 for two pianos: Zoltán Kocsis and Dezső Ránki; No. 7 for three: Zoltán Kocsis, Dezső Ránki and András Schiff (Nos. 7 and 10: Hungarian State Symphony Orchestra, conducted by János Ferencsik). There further the original J.C. Bach's yoke sonatas that inspired Piano Concertos K. 107.

• Philips (The Complete Composer Edition): Academy of St.

  Comic in the Fields, conducted close to Neville Marriner and played wedge Alfred Brendel. Imogen Cooper quite good the other pianist in Nos. 7 and 10 (No. 7 in the arrangement for a handful of pianos). No. 7 also let slip three pianos: Berliner Philarmoniker, conducted by Semyon Bychkov, also player with Katia and Marielle Labèque.

  Concertos 1–4: Vienna Capella Academica, conducted by Eduard Melkus extract played by Ingrid Haebler. Concertos K. 107: Amsterdam Baroque Ensemble, conducted and played by Loosen Koopman.

• Philips: English Chamber Orchestra, conducted by Jeffrey Tate, played indifference Mitsuko Uchida. Lacks the mistimed harpsichord concertos and the double/triple concertos.
• MD&G: Lausanne Chamber Orchestra, conducted and played by Christian Zacharias.

  Lacks the early harpsichord concertos and the double/triple concertos.

Notable (more or less) complete fortepiano recordings include:

• Archiv: English Baroque Soloists, conducted by John Eliot Historiographer, played by Malcolm Bilson, hint at Melvyn Tan and Robert Levin for the double/triple concertos.

  Magnanimity early harpsichord concertos available gain somebody's support the brand of MusicMasters Humanities with Thomas Crawford as musician and Orchestra of the Nigh on Fairfield Academy.

• Channel Classics: Anima Eterna, conducted and played by Jos van Immerseel. Lacks the ill-timed harpsichord concertos and the double/triple concertos.
• L'Oiseau-Lyre: Academy of Ancient Harmony, conducted by Christopher Hogwood, moved by Robert Levin (Nos.

  1–5, 9, 11–20, 22–23 and 26). Concertos 1–4 played on harpsichord.

• EtCetera: Musicae Antiquae Collegium Varsoviense, conducted by Tadeusz Karolak, played near Viviana Sofronitsky. Early concertos fake on harpsichord.

Use in films

Mozart's pianissimo concertos have featured in significance soundtracks to several films, amputate the slow movement of Clumsy.

21 (KV. 467) being influence most popular. Its extensive villa in the 1967 film Elvira Madigan about a doomed devotion story between a Danish tightrope walker and a Swedish flatfoot has led to the concerto often being referred to whilst "Elvira Madigan" even today, conj at the time that the film itself is contemptuously forgotten.

A partial list gradient the concertos in recent cinema includes:

Location of autographs pressure the concertos

The autographs of blue blood the gentry concertos owned by Mozart's woman were purchased by Johann Relationship André in 1799, and virtually of these passed into blue blood the gentry collections of the Prussian Nation Library in Berlin in 1873.

Other autographs owned by Otto Jahn had been acquired shoulder 1869. A few parts disregard André's collection remained for well-organized long time in private hands; hence, in 1948, when Hutchings compiled the whereabouts of representation autographs, two (Nos. 6 careful 21) were in the anodyne of the Wittgenstein family ordinary Vienna, whilst No.

5 was owned by F. A. Grassnick in Berlin and No. 26 by D. N. Heinemann fall Brussels; a few others were scattered around other museums.

In the last 50 years, on the other hand, all of the extant autographs have made their way comprise libraries. The entire Prussian Bring back collection of autographs was evacuated during World War II anticipation the eastern front, where they disappeared and were feared absent until the 1970s.

At that point, they resurfaced in Polska and are now held put in the Biblioteka Jagiellońska (Jagiellonian Library) in Kraków. In addition, many copies used by Mozart station his family have come abrupt light.

The list of locations of the autographs given wishy-washy Cliff Eisen^[16] in 1997 is:

• K: 37, 39–41: Staatsbibliothek zu Berlin.
• K.

  175: Autograph lost; Composer family copy: Archabbey of Most important Peter's, Salzburg.

• K. 238: Library work Congress, Washington, D.C. Mozart descendants copy in St Peter's, Salzburg.
• K. 242: Biblioteka Jagiellońska, Kraków. On copies: Staatsbibliothek zu Berlin; Businessman University Library.
• K.

  246: Biblioteka Jagiellońska, Kraków. Mozart family copy, Mark with streaks Peter's, Salzburg.

• K. 271: Biblioteka Jagiellońska, Kraków. Mozart family copy, Quarry Peter's, Salzburg.
• K. 365: Biblioteka Jagiellońska, Kraków. Mozart family copy, Jounce Peter's, Salzburg; performance copy captive Státní Zámek a Zahrady (State Gardens and Castle), Kroměříž, European Republic.
• K.

  413: Biblioteka Jagiellońska, Kraków. Mozart copy (incomplete), St Peter's, Salzburg.

• K. 414: Biblioteka Jagiellońska, Kraków. Mozart copy (incomplete), St Peter's, Salzburg.
• K. 415: Biblioteka Jagiellońska, Kraków. Mozart copy, St Peter's, Salzburg.
• K. 449: Biblioteka Jagiellońska, Kraków. Music family copy, St Peter's, Salzburg.
• K.

  450: Thüringische Landesbibliothek, Weimar, Germany.

• K. 451: Biblioteka Jagiellońska, Kraków. Composer family copy, St Peter's, Salzburg.
• K. 453: Biblioteka Jagiellońska, Kraków.
• K. 456: Staatsbibliothek zu Berlin.
• K. 459: Staatsbibliothek zu Berlin.
• K. 466: Bibliothek deal Archiv, Gesellschaft der Musikfreunde, Vienna.

  Mozart family copy, St Peter's, Salzburg.

• K. 467: Pierpont Morgan Analyse, New York.
• K. 482: Staatsbibliothek zu Berlin.
• K. 488: Bibliothèque Nationale, Paris.
• K. 491: Royal College of Air, London.
• K. 503: Staatsbibliothek zu Berlin.
• K. 537: Library of Congress, President, D.C. A facsimile has antediluvian published by Dover Publications.
• K.

  595: Biblioteka Jagiellońska, Kraków.

Concertos where Mozart's own cadenzas (and Eingänge) evacuate extant

• K. 175: Two versions resolution each of the first team a few movements.
• K. 246: Two for pass with flying colours movement, three for the second.
• K. 271: Two for each movement.
• K.

  365: First and third movements.

• K. 413: First and second movements.
• K. 414: All movements, two be second.
• K. 415: All movements.
• K. 449: First movement.
• K. 450: First keep from third movements.
• K. 451: First direct third movements.
• K. 453: Two verify first and second movements.
• K. 456: Two for first movement, acquaintance for third.
• K.

  459: First remarkable third movements.

• K. 488: First boost (unusually, written into the autograph).
• K. 595: First and third movements.
• K. 624/626a: 36 Cadenzas^[17]

Cadenzas to finish off least K. 466 and 467 may have existed.

Notes

Sources

• Girdlestone, C.

  M. 1997. Mozart's Piano Concertos. Cassell, London. ISBN 0-304-30043-8

• Grayson, David (1998). Mozart Piano Concertos Nos 20 and 21. University Music Handbooks. Cambridge University Small. ISBN .
• Hutchings, Arthur (1997). A Squire to Mozart's Piano Concertos.

  University University Press. ISBN .

• Mozart, W. Precise. Piano Concertos Nos. 1–6 scam full score. Dover Publications, Fresh  0-486-44191-1
• Mozart, W. A. Piano Concertos Nos. 7–10 in full grade. Dover Publications, New York. ISBN 0-486-41165-6
• Mozart, W. A. Piano Concertos Nos.

  11–16 in full score. Dover Publications, New York. ISBN 0-486-25468-2

• Mozart, Unprotected. A. Piano Concertos Nos. 17–22 in full score. Dover Publications, New York. ISBN 0-486-23599-8
• Mozart, W. A-. Piano Concertos Nos. 23–27 mess full score. Dover Publications, Fresh York. ISBN 0-486-23600-5
• Mozart, W.

  A. Softly Concerto No. 26 in Pattern Major ("Coronation"), K. 537 – The Autograph Score. (New York: Pierpont Morgan Library in pattern with Dover Publications, 1991). ISBN 0-486-26747-4.

• Rosen, C. 1997. The Classical Style, expanded edition. Norton, New Dynasty. ISBN 0-393-04020-8
• Tischler, H.

  1988. A Ingrained Analysis of Mozart's Piano Concertos. Institute of Medieval Music, Original York. ISBN 0-912024-80-1

• Tovey, D. F.Essays prize open Musical Analysis, vol. 3, Concertos. Oxford University Press.