| Piano Concerto in D minor | |
|---|---|
| No. 20 | |
| by W. A. Mozart | |
 First page of the autograph | |
| Key | D minor |
| Catalogue | K. 466 |
| Genre | Concerto |
| Style | Classical period |
| Composed | 1785 |
| Movements | Three (Allegro, Romanze, Allegro assai) |
| Scoring |
|
The Piano Concerto No. 20 in D minor, K. 466, was composed by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with the composer as the soloist. [1]
A few days after the first performance, the composer's father, Leopold, visiting in Vienna, wrote to his daughter Nannerl about her brother's recent success: "[I heard] an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got here, and your brother didn't even have time to play through the rondo because he had to oversee the copying operation." [1]
It is written in the key of D minor. Other works by the composer in that key include the Fantasia K. 397 for piano, the Requiem, a Kyrie, a mass, the aria "Der Hölle Rache kocht in meinem Herzen" from the opera The Magic Flute and parts of the opera Don Giovanni . It is the first of two piano concertos written in a minor key (No. 24 in C minor being the other).
The young Ludwig van Beethoven admired this concerto and kept it in his repertoire. [1] Composers who wrote cadenzas for it include Beethoven (WoO 58), Franz Xaver Wolfgang Mozart, Charles-Valentin Alkan, Johannes Brahms (WoO 14), Johann Nepomuk Hummel, Ferruccio Busoni, and Clara Schumann.
One of Mozart's favorite pianos that he played while he was living in Vienna had a pedal-board that was operated with the feet, like that of an organ. This piano that Mozart owned is on display at Mozart House in Salzburg, but currently it has no pedal-board. The fact that Mozart had a piano with a pedal-board is reported in a letter written by his father, Leopold, who visited his son while he lived in Vienna. Among Mozart's piano works, none are explicitly written with a part for a pedal-board. However, according to Leopold's report, at the first performance of Piano Concerto No. 20 in D Minor (K. 466), Mozart, who was the soloist and conductor, used his own piano, equipped with a pedal-board. Presumably the pedal-board was used to reinforce the left-hand part, or add lower notes than the standard keyboard could play. Because Mozart was also an expert on the organ, operating a pedal-board with his feet was no harder than using only his hands.
The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings.
As is typical with concertos, it is in three movements:
The first movement starts off the concerto in the dark tonic key of D minor with the strings restlessly but quietly building up to a full forte .
The theme is quickly taken up by the piano soloist and developed throughout the long movement. A slightly brighter mood exists in the second theme of F major (the relative major), but it never becomes jubilant. The timpani further heighten the tension in the coda before the cadenza. The movement ends on a quiet note.
The Romanze second movement, in B♭ major, is a five-part rondo (ABACA) [3] with a coda. The trumpets and timpani are not used in this movement. The beginning features a solo piano playing the flamboyant and charming main B♭ major melody without accompaniment. This lyrical, passionate, tender and romantic melody paints a picture of peace and a sense of harmony between the piano and the orchestra and has also inspired its title 'Romanze'.
Halfway through, the piece moves on to the second episode (part C), where instead of the beautiful melody, a storm sets in. The new stormy material is a turbulent, agitated and ominous theme, in the relative key of G minor, which greatly contrasts with the peaceful mood at the starting of the movement. Though the storm section begins abruptly and without transition, after a transition back to the tonic key of B♭ major we are greeted once again with the previously heard melody, which returns as the movement is nearing its end. The movement ends with an ascending arpeggio that is light and delicate, gradually becoming a faint whisper.
The final movement, a rondo, begins with the solo piano rippling upward in the home key before the full orchestra replies with a furious section. (This piano "rippling" is known as the Mannheim Rocket and is a string of eighth notes (D–F–A–D–F) followed by a quarter note (A). A second melody is touched upon by the piano, where the mood is still dark but strangely restless. A contrasting cheerful melody in F major is ushered in not long after, introduced by the orchestra before the solo piano rounds off the lively theme. A series of sharp piano chords snaps the bright melody, and then begin passages in D minor for solo piano again, afterwards taken up by full orchestra. Several modulations of the second theme (in A minor and G minor) follow. Thereafter follows the same format as above, with a momentary pause for introducing the customary cadenza.
After the cadenza, the mood clears considerably and the piece is now fully sunny in character, as we are now in the parallel key of D major, and the bright happy melody is taken up, this time by the oboes and then winds. The solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant finish.
The first movement was played in the ballet scene in Series 1 Episode 8 of the television series Mr. Robot . It is a theme in American composer James Hewitt’s Medley Overture in D minor-major.
The 1984 feature film Amadeus makes use of that movement when Mozart is stumbling home after an evening with Emanuel Schikaneder during a night of composing the score of his opera The Magic Flute. The second movement (minus the more tumultuous C part of the rondo) plays in the final scene and during the end credits.
Eine kleine Nachtmusik, K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart (1756–1791). The German title means "a little night music". The work is written for an ensemble of two violins, viola, cello and double bass, but is often performed by string orchestras. The serenade is one of Mozart's most famous works.
Sergei Rachmaninoff's Piano Concerto No. 3 in D minor, Op. 30, was composed in the summer of 1909. The piece was premiered on November 28 of that year in New York City with the composer as soloist, accompanied by the New York Symphony Society under Walter Damrosch. The work has the reputation of being one of the most technically challenging piano concertos in the standard classical piano repertoire.
The Piano Concerto No. 5 in E-flat major, Op. 73, known as the Emperor Concerto in English-speaking countries, is a concerto composed by Ludwig van Beethoven for piano and orchestra. Beethoven composed the concerto in 1809 under salary in Vienna, and he dedicated it to Archduke Rudolf, who was his patron, friend, and pupil. Its public premiere was on 28 November 1811 in Leipzig, with Friedrich Schneider as the soloist and Johann Philipp Christian Schulz conducting the Gewandhaus Orchestra. Beethoven, usually the soloist, could not perform due to declining hearing.
Beethoven's Piano Concerto No. 3 in C minor, Op. 37 is generally thought to have been composed in 1800, although the year of its composition has been questioned by some contemporary musicologists. It was first performed on 5 April 1803, with the composer as soloist. During that same performance, the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered. The composition was published in 1804, and was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart's 24th Piano Concerto.
Felix Mendelssohn's Violin Concerto in E minor, Op. 64, MWV O 14, is his last concerto. Well received at its premiere, it has remained among the most prominent and highly-regarded violin concertos. It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. A typical performance lasts just under half an hour.
The Piano Concerto No. 1 in B♭ minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in 1879 and in 1888. It was first performed on October 25, 1875, in Boston by Hans von Bülow after Tchaikovsky's desired pianist, Nikolai Rubinstein, criticised the piece. Rubinstein later withdrew his criticism and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concerti.
The Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.
The Piano Concerto No. 23 in A major K. 488 is a concerto for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart's own catalogue, on March 2, 1786, two months prior to the premiere of his opera, Le nozze di Figaro, and some three weeks prior to the completion of his next piano concerto. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these.
The Piano Concerto No. 2 in B-flat major, Op. 19, by Ludwig van Beethoven was composed primarily between 1787 and 1789, although it did not attain the form in which it was published until 1795. Beethoven did write a second finale for it in 1798 for performance in Prague, but that is not the finale that was published. It was used by the composer as a vehicle for his own performances as a young virtuoso, initially intended with the Bonn Hofkapelle. It was published in December 1801 as Op. 19, later than the publication in March that year of his later composition the Piano Concerto No. 1 in C major as Op. 15, and thus became designated as his second piano concerto.
Ludwig van Beethoven's Piano Concerto No. 1 in C major, Op. 15, was written in 1795, then revised in 1800. It was possibly first performed by Beethoven at his first public concert in Vienna on 29 March 1795. It was first published in 1801 in Vienna with dedication to his pupil Princess Anna Louise Barbara Odescalchi, known to her friends as "Babette".
The Piano Concerto No. 24 in C minor, K. 491, is a concerto composed by Wolfgang Amadeus Mozart for keyboard and orchestra. Mozart composed the concerto in the winter of 1785–1786, finishing it on 24 March 1786, three weeks after completing his Piano Concerto No. 23 in A major. As he intended to perform the work himself, Mozart did not write out the soloist's part in full. The premiere was in early April 1786 at the Burgtheater in Vienna. Chronologically, the work is the twentieth of Mozart's 23 original piano concertos.
Wolfgang Amadeus Mozart's Piano Concerto No. 9 in E♭ major, K. 271, known as the Jeunehomme or Jenamy concerto was written in Salzburg in 1777 when the composer was 21 years old.
The Piano Concerto No. 22 in E♭ major, K. 482, is a work for piano, or fortepiano, and orchestra by Wolfgang Amadeus Mozart, composed in December 1785.
Wolfgang Amadeus Mozart's concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos and three unnumbered concertos are early works that are arrangements of keyboard sonatas by various contemporary composers. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held special importance for him.
The Piano Concerto No. 14 in E♭ major, K. 449, by Wolfgang Amadeus Mozart was written in 1784.
It is not known when Mozart completed his Concerto for Two Pianos and Orchestra in E-flat major, K. 365/316a, but research by Alan Tyson shows that cadenzas for the first and third movements are written in his and his father's handwriting on a type of paper used between August 1775 and January 1777. However, most sources, including Alan Tyson's book Mozart: Studies of the Autograph Scores or more recently Lindeman's The Concerto: A Research and Information Guide (2006) indicate that it was composed in 1779. It is presumed that Mozart wrote it to play with his sister Maria Anna ("Nannerl"). Years later he performed it in a private concert with pupil Josepha Barbara Auernhammer.
Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast. It was premiered in Munich on 13 June 1811, with Maximilian I Joseph of Bavaria in attendance.
The Piano Quartet No. 1 in G minor, Op. 25, was composed by Johannes Brahms between 1856 and 1861. It was premiered in 1861 in Hamburg, with Clara Schumann at the piano. It was also played in Vienna on 16 November 1862, with Brahms himself at the piano supported by members of the Hellmesberger Quartet. Like most piano quartets, it is scored for piano, violin, viola, and cello.
The Concerto for Piano, Violin, and Strings in D minor, MWV O4, also known as the Double Concerto in D minor, was written in 1823 by Felix Mendelssohn when he was 14 years old. This piece is Mendelssohn's fourth work for a solo instrument with orchestral accompaniment, preceded by a Largo and Allegro in D minor for Piano and Strings MWV O1, the Piano Concerto in A Minor MWV O2, and the Violin Concerto in D minor MWV O3. Mendelssohn composed the work to be performed for a private concert on May 25, 1823 at the Mendelssohn home in Berlin with his violin teacher and friend, Eduard Rietz. Following this private performance, Mendelssohn revised the scoring, adding winds and timpani and is possibly the first work in which Mendelssohn used winds and timpani in a large work. A public performance was given on July 3, 1823 at the Berlin Schauspielhaus. Like the A minor piano concerto (1822), it remained unpublished during Mendelssohn's lifetime and it wasn't until 1999 when a critical edition of the piece was available.
The Piano Concerto No. 2 in D minor, Op. 23 by Edward MacDowell was completed in late 1885. Although some obvious similarities with Edvard Grieg's, Camille Saint-Saëns's and Franz Liszt's concertos have often been stated, MacDowell’s composition proves to be quite original, at least compared to his First Concerto. It was the first major piano concerto written by an American. It was also the only large-scale composition by MacDowell to remain in standard repertoire.
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