Piano Concerto No. 15 (Mozart)

Piano Concerto No. 15 (Mozart)

The Piano Concerto No. 15 in B flat Major, KV. 450 is a concertante work for piano, or pianoforte, and orchestra by Wolfgang Amadeus Mozart. Mozart composed the concerto for performance at a series of concerts at the Vienna venues of the Trattnerhof and the Burgtheater in the first quarter of 1784, where he was himself the soloist in March 1784.cite journal | url=http://links.jstor.org/sici?sici=0027-4224(200111)82%3A4%3C559%3A'ESMMP%3E2.0.CO%3B2-F | last=Keefe | first=Simon P. | title='An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E Flat, K.449, and the Stylistic Implications of Confrontation | journal=Music & Letters | volume=82 | issue=4 | pages=559–581 | date=4 November 2001 | accessdate=2008-03-08 | doi=10.1093/ml/82.4.559] [cite journal | url=http://links.jstor.org/sici?sici=0027-4380(199412)2%3A51%3A2%3C733%3AKFKUOA%3E2.0.CO%3B2-A | last=Eisen | first=Cliff | title=Music Reviews: "Wolfgang Amadeus Mozart: Klavierkonzerte für Klavier und Orchester. Ausgaben für zwei Klaviere. Urtext; hrsg von. Christoph Wolff und Christian Zacharias" | journal=Notes (2nd Ser.) | volume=51 | issue=2 | pages=733–737 | date=1994 | accessdate=2008-03-08]

In a letter to his father, Mozart compared this concerto with the 16th concerto in D:

"I consider them both to be concertos which make one sweat; but the B flat one beats the one in D for difficulty." [Hutchings (p. 290)]

Indeed, many pianists consider this to be the most difficult of all of Mozart's piano concertos. [Steinberg] Beginning with this concerto, Mozart began to use the term "grand" to describe his concerti such as K.450 which feature a prominent and required wind section for the ensemble. [Keefe, Simon P., "The Cambridge Companion to Mozart". Cambridge University Press (2003, ISBN 0521807344), p. 88.]

The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns, and strings. The concerto is in three movements:

# "Allegro"
# "Andante" in E-flat major
# "Allegro"

Diana McVeigh has commented on the division of musical themes in the concerto's first movement, in the context of the relationship between soloist and orchestra. [cite journal | url=http://links.jstor.org/sici?sici=0027-4224(194704)28%3A2%3C115%3ATCCOC%3E2.0.CO%3B2-3 | last=McVeagh | first=Diana | title=The Concerto: Contest or Co-Operation? | journal=Music & Letters | volume=28 | issue=2 | pages=115–120 | date=April 1947 | accessdate=2008-03-15] The finale follows the ABACABA form. [cite journal | url=http://links.jstor.org/sici?sici=0277-9269(200124)18%3A1%3C129%3AAATIMS%3E2.0.CO%3B2-X | last=Portowitz | first=Adena | title=Art and Taste in Mozart's Sonata-Rondo Finales: Two Case Studies | journal=The Journal of Musicology | volume=18 | issue=1 | pages=129–149 | date=Winter 2001 | accessdate=2008-03-15 | month=Dec | year=2001 | doi=10.1525/jm.2001.18.1.129]

Simon Keefe has noted contemporary comments from Mozart's era on how the woodwind writing in this concerto showed a "newly intricate and sophisticated" character compared to Mozart's prior keyboard concerti. Keefe has also analysed the character of the dialogue between the soloist and the orchestra in the concerto's first movement. [cite journal | url=http://mq.oxfordjournals.org/cgi/reprint/83/2/169 | last=Keefe | first=Simon P. | title=Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements | journal=The Musical Quarterly | volume=83 | issue=2 | pages=169–204 | date=Summer 1999 | accessdate=2008-03-08 | doi=10.1093/mq/83.2.169] Elaine Sisman has postulated that Mozart modeled the slow movement on a theme-and-variations movement from the Symphony No. 75 of Joseph Haydn. [cite journal | url=http://links.jstor.org/sici?sici=0027-4380(199906)2%3A55%3A4%3C879%3AMPCTCI%3E2.0.CO%3B2-0 | last=Mercado | first=Mario R. | title=Book Review: "Mozart's Piano Concertos: Text, Context, Interpretation" by Neal Zaslaw | journal=Notes (2nd Ser.) | volume=55 | issue=4 | pages=879–883 | date=June 1999 | accessdate=2008-03-08 | doi=10.2307/899584]

References

ources

* Hutchings, Arthur, "A Companion to Mozart's Piano Concertos", Oxford University Press (original publication, 1948).
* Steinberg, Michael, "The Concerto: A Listener's Guide", Oxford (1998, ISBN 0195103300)

External links

*
*IMSLP2|id=Piano_Concerto_No.15%2C_K.450_%28Mozart%2C_Wolfgang_Amadeus%29|cname=Piano Concerto No. 15


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