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 O rder N u m b e r 9 5 0 5 1 S 8

M ozart’s piano concerto in D m inor, K . 466: A nalysis and

discussion o f interpretation and perform ance

Hsu, Mei-Na, D.M.A.

The Ohio State University, 1994

UMI
300 N. Zeeb Rd.
Ann Arbor, MI 48106
 MOZART'S PIANO CONCERTO IN D MINOR, K. 466:
ANALYSIS AND DISCUSSION OF
INTERPRETATION AND PERFORMANCE

D.M.A Document

P re se n te d in Partial Fulfillment of th e R equirem ents for

th e D egree of Doctor of Musical Arts In the G raduate
School of The Ohio State University

By
Mel-Na Hsu, B.F.A., M.M.

* * * * *

T he Ohio S tate University

1994

D.M.A. Committee: Approved by

Jerry E. Lowder, Adviser

A d v ise r
Donald Gren, Co-Adviser

J a m e s G allagher 2^
C o -A d v iser
School of Music
 DEDICATED
TO

My p aren ts for their endless love and support

and to my husband,
Chien-Seng Hwang
for his patience and encouragem ent

11
 ACKNOWLEDGMENTTS

I wish to ex p ress my sin cere appreciation and gratitude to my

adviser, Dr. Jerry E. Lowder, for his time, valuable guidance, and
inspiration throughout th e preparation of this docum ent. As an
adviser, he h a s always been there for counseling and h as been
instrum ental in advising me.

I also thank the reading committee. Dr. Donald Gren and Dr.
Ja m e s G allagher for their time, com m ents, and a s sis ta n c e during
my research. I also wish to ex p ress my gratitude to Dr. Rosem ary
Platt, for h er valuable guidance and constant support throughout
my g rad u ate studies, and I especially appreciate h er piano
instruction during th e last y ear of my Doctoral study. I am
greatly indebted to Mr. Earl Wild for his distinguished piano
instruction and inspiration over the p ast five years. I thank and
resp ect him for his contributions to m usic and for his dedication
to th e Arts.

Ultimately, I offer d eep thanks to my husband, C hien-Seng, for

his unceasing support and encouragem ent, which w as my
stro n g est motivation and a ssistan c e. I am truly grateful to my
p aren ts for their en d less love, understanding, and support.

in
 VITA

August 25, 1965 Born - Taipei, Taiw an

1988 B.F.A., Plano Perform ance,

National Institute of th e Arts,
Taipei, Taiw an.

1990 M.M., Piano Perform ance,

The Ohio S tate University,
Columbus, Ohio.

1989- 1994 G raduate T eaching A ssociate

School of Music,
The Ohio S tate University
Columbus, Ohio.

1994 D.M.A., Piano Perform ance,

The Ohio S tate University,
Columbus, Ohio.

IV
 FIELDS OF STUDY

Major Field: Music

Studies in Piano Perform ance: P ro fesso r Earl Wild

P ro fesso r R osem ary Platt

S tudies in Piano Literature: P rofessor Donald Gren

Studies in Piano Pedagogy: P rofessor Jerry E. Lowder

Studies in Music Theory: P ro fesso r G regory Proctor

 TABLE OFCONTENTTS

DEDICATION................................................................................................... il
ACKNOWLEDGMENTS................................................................................... i i I
VITA ................................................................................................................. iv
FIELDS OF STUDY............................................................................................ v
LIST OF FIG U R ES..........................................................................................ix

CHAPTER

I. INTRODUCTION................................................................................... 1

Influences on M ozart's M usic............................................... 1

M ozart's Use of K eys............................................................... 3
Mozart's Piano Concertos............................................................4
The Background of the D Minor Concerto..............................7
The Concerto F orm ................................................................... 9
Com parison of K. 466 and K. 4 9 1 10
The Piano in Mozart's Time and the Modern Piano.... 11
R eferences .............................................................................. 2 2

II. ANALYSIS.......................................................................................... 2 5

T he First M ovem ent...............................................................2 5

vi
 O u tlin e ................................................................................2 6
D is c u ss io n .........................................................................2 7
Exposition 1............................................................... 2 7
Exposition II............................................................. 32
D ev elo p m en t............................................................. 36
R e c a p itu la tio n ..........................................................3 7
C ad e n za....................................................................... 3 8
C oda..............................................................................4 2
C onclusion.........................................................................4 2
The Second M ovement.......................................................... 4 5
Outline.................................................................................... 4 6
D is c u s s io n ..........................................................................4 7
Section A1................................................................. 4 7
Section B .................................................................... 4 8
Section A2................................................................. 4 9
Section C .................................................................... 4 9
Section A3................................................................. 51
C oda..............................................................................51
The Third M ovem ent............................................................. 52
Outline.................................................................................... 5 2
D is c u s s io n ..........................................................................5 4
Section A1 (Exposition)..............................................5 4
Section 8 1 ................................................................. 5 6
Section A 2................................................................. 5 9
Section C (D evelopm ent)...................................... 6 0
S ection 82 (R ecapitulation)................................. 61
C ad en za....................................................................... 6 2
Section A 3................................................................. 6 2
C oda..............................................................................6 2
References...................................................................................6 5

III. PERFORMANCE AND INTERPRETATION.................................. 6 7

The First M ovem ent.............................................................. 6 7

The Second M ovement.......................................................... 82

Vll
 The Third M ovem ent............................................................. 9 3
Interpretation by Fam ous Pianists.......................................101
References................................................................................ 1 0 4

iV. EDITIONS, CADENZAS, AND RECORDINGS............................. 1 06

Editions...................................................................................... 1 0 6
Cadenzas...................................................................................1 1 0
R e c o rd in g s............................................................................. 1 1 4
References................................................................................ 121

CONCLUSION............................................................................................... 123

References................................................................................ 1 2 5

BIBLIOGRAPHY........................................................................................... 1 2 6

Vlll
 LIST OF FIGURES

FIGURES PAGE

1. Duration of tone..........................................................................1 5

2. 1st M ovement, first them e, mm. 1 -8 ........................... 2 8

3. 1st M ovement, transition, mm. 18-22......................... 2 9

4. 1st Movement, second them e, mm. 33-38 ...................3 0

5. 1st M ovement, rolling octave figure, mm. 44-46.....30

6. 1st M ovement, derivation of rolling octave,

mm. 4 4 -4 6 ................................................................................31

7. 1st M ovement, 1st piano subject, mm. 77-87............. 3 3

8. 1st M ovement, 2nd piano subject, mm. 127-135.....3 5

9. C a d e n za by Beethoven, som e intervallic

r e la tio n s h ip s ...........................................................................4 0

10. 2nd Movement, rondo theme, mm. 1-8...............................4 7

11. 2nd Movement, section C, mm. 8 4 -8 7 .......................... 4 9

12. 3rd Movement, rondo them e, mm. 1 -1 2 ....................... 5 5

13. 3rd M ovement, repeated figure and chrom atic

melodic line, mm. 30-40............................................................5 6

14. 3rd M ovement, subject 1, mm. 6 3 -7 3 .......................... 5 7

IX
15. Com parison of subject 1 in 3rd movt. and the
first piano subject in 1st m ovt........................................5 7

16. 3rd Movement, subject 2, mm. 9 2 -9 7 ............................. 5 8

17. 3rd M ovement, subject 3, mm. 139-146.........................5 9

18. 1st Movement, 1st piano subject, mm. 77-84.............. 6 8

19. 1st Movement, ornam entation in m. 8 7 ..........................6 8

20. 1st M ovement, perform ance in mm. 88 -8 9 ................... 6 9

21. (a) 1st Movement, fingering by Badura-Skoda,

mm. 99-102............................................................. 6 9
(b) 1st M ovement, alternate fingering in
mm. 99-102............................................................. 7 0

22. 1st Movement, phrasing in mm. 141-144...................... 71

23. 1st M ovement, interpretation in mm. 156-157........... 7 2

24. 1st Movement, perform ance in mm. 165-166................ 7 3

25. 1st Movement, perform ance in mm. 211-213................ 7 4

26. 1st Movement, perform ance in mm. 222-223................ 7 4

27. 1st Movement, perform ance in mm. 230-231................ 7 5

28. Chopin's Waltz, Op. 69, No.2 (mm. 1-6)........................7 5

29. 1st M ovement, interpretation in mm. 2 4 3 -2 4 6 ...........7 6

30. 1st Movement, perform ance in mm. 252-253.................7 7

31. (a) 1st M ovement, P eters edition fingering,

m. 3 1 6 ...............................................................................7 8
(b) 1st Movement, alternate fingering, m. 316...........7 8

32. 1st M ovement, interpretation in mm. 32 3 -3 2 6 ...........7 8

33. 1st Movement, c ad en za by B eethoven, m artellato

repeated notes, mm. 14-17...................................................... 7 9

X
34. 1st Movement, cad en za by Beethoven, mm. 4-7........... 8 0

35. 1st M ovement, cadenza, pedalling in mm. 31-34...... 81

36. 1st M ovement, cadenza, fingering in mm. 50 -5 3 ......81

37. 1st M ovement, cad en za, interpretation in

mm. 5 5 -5 8 ................................................................................ 8 2

38. (a) 2nd M ovement, B adura-S koda interpretation

of rondo theme, mm. 1-4.................................................. 8 3
(b) 2nd M ovement, altern ate interpretation of
rondo them e, mm. 1 -4 ................................................. 8 3

39. (a) 2nd Movement, ornamentation in m. 4 ....................... 8 5

(b) 2nd M ovement, alternate ornam entation
in m. 4...................................................................................8 5

40. 2nd M ovement, stac cato vs. non-staccato,

mm. 11 -1 2................................................................................ 8 8

41. 2nd M ovement, interpretation in mm. 17-20.........8 6

42. 2nd Movement, perform ance of th e turn, m. 2 2 ... 8 6

43. 2nd Movement, ornam entation, m. 4 0 ....................... 8 7

44. 2nd Movement, pedalling in mm. 45-46....................... 8 7

45. 2nd Movement, su g g ested fingering, mm. 49-50...8 8

46. 2nd Movement, u se of crescendos, mm. 52-55.............. 8 8

47. 2nd Movement, suggested fingering for m. 95 .........8 9

48. 2nd M ovement, interpreting the slur,

mm. 154-157............................................................................... 9 0

49. 2nd Movement, com parison of mm. 31 and 141......91

50. 2nd Movement, variation on the them e by

B a d u ra -S k o d a.......................................................................... 9 2

XI
51. 2nd M ovement, adding of ornam entation,
mm. 4 4 -5 5 .................................................................................92

52. (a) 3rd M ovement, P eters edition,

fingering in m. 1 ............................................................9 3
(b) 3rd M ovement, alternate fingering in m. 1 .........9 3

53. 3rd Movement, performance, mm. 8-11.............................9 4

54. 3rd M ovement, dynam ic contrasts, mm. 63-66............9 5

55. 3rd Movement, drum rhythm, mm. 92-97......................... 9 6

56. 3rd Movement, slurred eighth notes, m. 142................. 9 6

57. 3rd M ovement, th ree layers, mm. 1 47-150 ................ 9 7

58. 3rd M ovement, slurred string parts, m. 1 8 1 .............. 9 8

59. 3rd Movement, extending phrase, mm. 333-334.........9 9

60. 3rd Movement, cadenza by Beethoven, m. 14.................9 9

61. 3rd Movement, cadenza, mm. 41-46................................. 1 0 0

62. Technical figuration in M ozart's c a d e n z a s .............. 1 1 3

Xll
 CHAPTER I
INTRODUCTION

During my piano study at The Ohio S tate University, I learned

many Mozart piano com positions. I performed M ozart's piano
concerto in D minor, K. 466, finding that its technical dem ands for
clarity and accu rate articulation required careful attention and
preparation. The purpose of this docum ent is to sh are my learning
p ro ced u res and interpretation of the Mozart concerto.

The P eters edition for solo and the arranged second piano part
w as th e principal score used in my study. However, the m easure
num bers of th e P eters edition and the Kochel-Verzeichnis edition
are the sa m e in the first and second m ovem ents, but are different in
the third m ovem ent which P eters counts from the com plete m easure.
The K ochel-Verzeichnis edition contains th e incom plete m easu re
from the beginning so that it contains one more m easure than the
P e te rs edition.

Influences on M ozart's Music

Wolfgang A m adeus Mozart w as born in Salzburg in 1756 and

died in Vienna in 1791 at the age of 35. He began the serious study
of m usic at th e ag e of three and se t out on the first of m any concert

1
 2

tours with his father and sister when he w as oniy six years oid. The
trips continued untii Mozart w as 23, and successful perform ances
brought him fam e in Munich, Vienna, Paris, London, Milan, and other
cities. During th e se journeys he had opportunities to h ear m usic by
other com posers. Every work he heard m ade an im pression on him and
also influenced his writing style. T he arrangem ent by Mozart of
other com posers' works, such a s early piano concertos K. 37, 39, 40,
41, and 107, apparently reflected this influence, in 1781 Mozart
moved to Vienna, an im portant cultural cen ter which influenced his
life and b ecam e his perm anent home. He married C onstanza W eber in
1782, began a friendship with Haydn, and w as deeply influenced by
Haydn’s m usic. After Mozart settled in Vienna, he viewed the writing
and performing of piano concertos a s the m ost promising avenue for
public recognition. 1 M ozart's m usic probably only rarely reflects
directly im m ediate circu m stances but, by an artistic paradox, often
ach iev es its perfection in contrast to his actual s itu a tio n .^

While Mozart w as in Vienna during the sum m er of 1773, he

b ecam e acquainted with a vast quantity of new instrum ental music
written by Haydn, Pierian Leopold G assm ann, Jo h an n Baptist Vanhal,
Carlos d'O rdonez, and others. T h ese works, usually in minor keys and
employing extravagant m usical language with ex ag g erated dynamic
marks, a re now referred to by the nam e of a parallel m ovem ent in
G erm an literature- Sturm und Drang (storm and s tre s s ).3
 3
The m usic also reflected the social background of this "dark"
period: a harpsichord concerto In D minor (1748) by C. P. E. Bach; the
D minor finale of Gluck's ballet music to Don Juan (1761); the
"Farewell" sym phony In F sharp minor, no. 45, by Haydn; and the large
num ber of Sturm und Drang sym phonies by Vanhal. T he u se of minor
keys helped ex p ress strong m oods. The characteristics of th e Sturm
und Drang works Include: an abrupt contrast of key, a sudden p au se

(ferm ata) or contraction of rhythm, a m elodic ellipsis, wide skips In

the th em es, silen ces, ex ag g erated dynam ic m arks (crescen d o s, off­
beat fz or accen ts), etc. T h e se features clearly Influenced M ozart's
fam ous works: sym phony no. 25 In G minor (K. 183), piano concertos
no. 20 In D minor (K. 466) and no. 24 In C minor (K. 491), quintet in G
minor (K. 516) and symphony no. 40 In G minor (K. 550). Mozart never
entirely ab an d o n ed the style of Sturm und Drang which w as to
becom e his personal expression, and It rem ained and ready to be
called upon w henever circum stances dem anded Its u s e .4

Mozart's U se of Kevs

According to C. F. D. Schubart, the sharp keys feel "wild and

strong," th e flat keys feel "sweet and m elancholy," and th e neutral
o nes feel "Innocent and s i m p l e . Minor keys how ever are relatively
rare In any m usic of this period and are never without special
emotional significance of a dark or p assio n ate kind. In his V iennese
years Mozart wrote only two substantial Instrum ental works In D
minor (K. 421 and 466) and three each In G minor (K. 478, 516 and
550) and C minor (K. 388, 457 with 475, and 491). In his op eras D
 4
minor Is alm ost Invariably linked with Ideas of vengeance: Donna
Anna's agitated grief In Don Giovanni, th e ghostly ap p earan ce of the
stone guest In Don Giovanni, and the vengeful passion of the Q ueen of
Night In Magic Fiute.^

M ozart's com positions In the minor keys are his d e e p e s t felt

and m ost Important. The key, D minor, h as been little used by him.
B esides th e concerto K. 466, the two string quartets (K. 173 and
421) and piano fantasia (K. 397) are his only Instrumental
com positions In D minor. However, the D minor w as also used In his
slow m ovem ents: th e andantino of the se re n a d e In D (K. 320), the
variations of th e divertimento In D (K. 334), and of the violin so n ata
In F (K. 377), the adagio of the oboe quartet. D minor Is associated In
Mozart with a dusky, foreboding. Inward, unlyrlcal em otion, a
passion of struggle, and expressive of threatening fate.7

According to R osen, If the slow m ovem ent of M ozart's works In

a minor key h a s a marked expressive complexity. It ten d s to be In
the subm ediant major (e.g., piano so n ata In A minor, K. 310; G minor
symphony; concerto In D minor, K. 466), while the sim pler
m ovem ents are In th e less rem ote relative major (concerto In C
minor, K. 491; D minor quartet, K. 421; and C minor sonata, K. 457).^

Mozart's Plano C oncertos

Mozart Is th e central figure In the history of th e concerto. His

concerto o rch estra w as larger and fuller than that of his
p red ecesso rs, and In his late piano concertos It achieved richness
 5
and power, to g eth er with subtlety and sonority. M ozart’s en th u siasm
for th e piano c au se d him to write piano concertos throughout his
life. M ozart's 27 piano concertos are divided a s follows:

S alzb u rg

Youthful Works : K. 37, 39, 40, 41, 175.

1776 : K. 238, 242 (for three pianos), 246.
C oncerto in E flat, K. 271.
C oncerto in E flat for Two Pianos, K. 365.

V ienna: 1782-1784

1782 : K. 413, 414, 415.

1784 : K. 449, 450, 451, 453, 456, 459.

V ienna: 1785-1791

1785 : K. 466, 467, 482.

1786 : K. 488, 491, 503.
The "Coronation" Concerto in D, K. 537.
C oncerto in B flat, K. 595.

T he piano concertos offer extraordinary variety, and each of

the concertos m ay be regarded a s a well-organized whole. T here is
no doubt th at M ozart's concertos fully display his genius and afford
the b est stan d ard for our judgm ent of him a s a pianoforte com poser.
The majority of them w ere written for himself and tak e th e highest
rank am ong his works.
T he six concerti (K. 466, 467, 482, 488, 491, 503) are
considered to be am ong th e m ost honored works in the concerto
literature. The group sp a n s th e period from February, 1785 to
D ecem ber, 1786; also during this time The Marriage of Figaro w a s
com posed. In M ozart's piano concertos the u se of th e clarinet,
regarded a s a special expressive instrument, a p p ears only in K. 482,
488, and 491. In M ozart's works, “Horns in B flat” m ean s “Horns in B
flat alto” for m odern perform ances, and w hen Mozart divides the
cello-bass line, th e upper part is autom atically to be played by the
double b a s se s , sin ce they always play an octave lower than written.^
In addition, Mozart occasionally used a shorthand in his notations,
expecting himself or th e perform er to fill in and em bellish, a s in the
second m ovem ent of the D minor concerto (discussed in C hapters II
and III).

According to Blume, of the 23 piano concertos only seven were

published in M ozart's lifetime. T he others, including K. 466, w ere all
published from his m anuscripts after his death. Therefore, it is
worthy to seriously co n sid er that the solo part of all of M ozart's
piano concertos m ay not be entirely of his own com position.i °

T he m usic for th e co ncertos is wonderful pianoforte music,

sym pathetic and brilliant, although presenting few technical
difficulties to th e contem porary pianist who h a s perform ed difficult
works by later com posers. He ex acts a clear song-like delivery of
the long-drawn m elodies, and a "quiet steady" hand which should
m ake th e p a s s a g e s "flow like oil," and his p a s s a g e s alm ost all
depend upon sc a le s and broken chords; real feats of bravura, such as
jumps, crossings, etc., only occur in exceptional c a se s. He avoided
 7
p a s sa g e s in octaves, or sixths and thirds, with which Clementi
excited so much astonishm ent, b ecau se he feared that they wouid
prejudice what he viewed a s th e chief requisites of good execution.
Generaiiy speaking, his aim w as not chord-piaying or the production
of m assive effects, but c iearn ess and transparency, quaiities which
especially belonged to th e instrum ents of his day. Mozart
undoubtedly did much to improve th e pianoforte, but he by no m eans
exhausted th e resources of the instrum ent. While the tendency of
modern execution is to turn the piano into a sort of independent
orchestra, M ozart's end eav o r w as rather to reveal th e specific
quaiities of th e piano in clear and unmixed contrast with the
orchestra. However, th e principal excellence of the concertos lies
not in their executive difficulties, but in their musical su b stan ce, in
conception and craftsm anship, they display lofty im pulse and
perfect freedom .11

The Background of the D Minor Concerto

After th e F major concerto (K. 459), Mozart wrote th e D minor

concerto, an entirely different concerto which is a work of
dram atic, p assio n ate intensity. It s e e m s that he w as entirely
indifferent to what people might think; he w as writing m usic a s he
felt it. N evertheless, this w as his oniy concerto that w as well
known in th e nineteenth c e n t u r y . 12 Mozart did not continue this type
of writing until 1786, when he followed his inner voices again in
composing th e C minor concerto, K. 491.
 8
Mozart finished the D minor piano concerto, K. 466, on February
10th, 1785 and played it at the first of the M ehlgrube concerts the
next day. B ec au se he finished writing the concerto at the very last
moment, on th e day of th e perform ance, a copyist w as still writing
out th e orchestral parts. Mozart wrote to Nanneri Leopold that the
subscription concert w as attended by great num bers of the
aristocracy. "The concert w as incom parable and the orchestra played
splendidly." He called K. 466 "a new and very fine concerto," his first
piano concerto in a minor key. 13

This p assio n ate and dram atic concerto m ade it possible to

stam p Mozart a s a forerunner of Beethoven...who would play the work
and write ca d e n z a s for it- a splendid one, fusing the Mozart and
Beethoven styles, for th e first m ovem ent and a rather w eaker one
for th e last."'4 it w as quite appropriate for the D minor concerto to
be nam ed "daemonic" in the 19th century and it is e a sy from this
work to trace an obvious line of descent from Mozart through
B eethoven to th e rom antics.

in term s of historical significance, Blume s ta te s that the D

minor concerto "com m ands an historical key position" :

In th e history of th e sp ecies it indicates th e m om ent in

which th e decisive turn to the ‘m odern’ concerto tak es
place: under th e influence of C. P. E. Bach's concertos and
Haydn's sym phonies, the piano concerto [is] . . . led into a
path . . . which Beethoven then trav erses and which,
through th e romantic epoch, leads directly to our tim es,
in th e history of musical sociology the D minor Concerto
rep resen ts . . . the sp ontaneous will to [the] expression of
artistic individuality . . . ail conventionalities, already
 9
rep ressed [in th e earlier works], d isap p e ar [to] m ake
room for th e "language of the h eart’, a s th e aesth etics of
th e period term ed itJ S

The C oncerto Form

It is Mozart who estab lish ed the principal featu res of the

Classical and su b seq u en t concerto style. From Mozart on, the
technical p a s s a g e s of th e solo part progressively becom e more
difficult and dem anding, a s a virtuoso character.

The typical concerto of the C lassical period a d h e re s to the

general outline of th e so n a ta a s a whole. It is m ost usually a three-
m ovem ent com pound form (with th e scherzo omitted) consisting of a
m oderately p aced first m ovem ent in modified so n a ta form, a slow
second m ovem ent in m iscellaneous forms, and a fast final m ovem ent
in rondo, sonata-rondo, so n ata, or variation form.

In th e C lassical concerto, the first m ovem ent h a s a double

exposition played first by the orchestra alone and th en with the
soloist. T h e o rchestrai exposition p re se n ts all th e them atic material
in th e tonic; in th e seco n d exposition, which follows immediately,
the subordinate th em e is stated in the traditional dom inant key.
T hereafter, developm ent and recapitulation follow.

In m any of th e Mozart piano concertos, the seco n d exposition in

the solo instrum ent often p resen ts th em es not heard in the
preceding tutti. This seco n d exposition is frequently m ore truly a
developm ent than th e succeeding section, which then a ssu m e s the
 10
ch aracter of a som ew hat improvisatory fantasia. Of M ozart's 27
piano concertos, only K. 271, 363, 503, and 595 contain genuine
developm ent sectio n s.

A distinctive feature of th e concerto is the cad en za. The

c ad e n za is an unaccom panied p a ssa g e in free, improvisational style,
b ased on previous them atic m aterial and exploiting the technique of
the instrum ent. In th e C lassical concerto, it occurred tow ard the end
of th e recapitulation in th e first m ovem ent; it w as preceded by a
six-four tonic chord which w as resolved to the dom inant at the
close of the cad en za. A brief p a ssa g e for the orchestra concluded the
movement. The cad en za may ap p ear in another portion of the
m ovem ent, or in either or both of the succeeding m ovem ents.

Comparison of K. 466 and K. 491

Since Mozart wrote only two piano concertos in minor keys, K.

466 in D minor and K. 491 in 0 minor, it is interesting to com pare
th e se two works. T he major differences are divided a s follows:

1. In the first m ovem ent of the D minor Concerto, Mozart

ap p ears to face suffering in the minor mode, but he ends
triumphantly in D m ajor in a m anner that B eethoven might have
written to depict victory over tragedy. In contrast, th e C minor
Concerto en d s in a m acabre dance of death and despair.

2. The D minor Concerto utilizes diatonic harm ony b ased upon

the closing th em e progression betw een tonic and dom inant, while
 11
th e C minor C oncerto displays an unsteady tonality created by
chrom atic harm ony.

3. T he D minor C oncerto is written in a march-like 4/4 time

signature. T he C minor C oncerto is in a flowing 3/4 tim e signature
th at te n d s to bind sectio n s together.

4. T he first piano th em e of th e D minor C oncerto se ttles firmly

on th e tonic in th e very first m easure, w h ereas th e first piano
them e of th e C minor C oncerto perform s only four m easu res in the
tonic key, before shifting down to one scale d eg ree lower.

5. “R om anza,” the second m ovem ent of the D minor Concerto,

is eleg an t and graceful, while the “Larghetto” of the C minor
C oncerto is m ore m elancholy.

6. P e rh ap s th e m ost recognizable distinction betw een the two

concertos is in the final m ovem ents. The main them e of the D minor
C oncerto is pyrotechnic, but the main them e of the C minor Concerto
is an apathetically drooping melody which is the b asis of a se t of
v a r ia tio n s .17

The Piano in Mozart’s Time and the Modern Piano

T he instrum ents in M ozart's time w ere different from our

m odern instrum ents. Thus, the piano in th e eighteenth century
so unded very different than th e m odern piano. P erform ance of th e se
concerti on th e m odern piano, indeed, p resen ts m any problem s.
 12
Landow ska also s tre s s e s th e im portance of studying earlier period
in s tru m e n ts :

For a true understanding of th e se works and of the

multiplicity of so n o ro u s and expressive m eans Mozart
had at his disposal, it is of prime im portance for all
p resen t day pianists to study the reso u rces and effects
of eighteenth century keyboard instrum ents, a s well a s
th e m an n er of m anipulating t h e m . 18

Therefore, perform ers should use the advantages of the m odern piano
to crea te affective and pleasing sonority and, of course, truly
d em o n strate th e clarity of M ozart's music.

R esearch on historical instrum ents and perform ance practices

h as ch an g ed perceptions of earlier musical styles. Therefore,
familiarity with th e fortepiano, harpsichord, and clavichord, and
how their ch aracteristics relate to the m odern piano, will help
players interpret Mozart and other eighteenth century com posers on
today's pianos. By th e latter half of the 18th century, the piano w as
in w idespread u se and reached its first m ature sta g e in the classic
V iennese instrum ent known to Mozart. Although the piano has
gradually replaced th e other keyboard instrum ents, the clavichord
w as still th e su p rem e solo instrum ent from the 1740’s to at least
1800.

Mozart lived during th e period when keyboard instrum ents

w ere developing and varying. During his youth, he played all types of
keyboard instrum ents. Most of his early public perform ances used
the harpsichord. T hus, th e harpsichord's close relationship betw een
 13
textural detail and p h rase s h a p e formed the basis of much of
M ozart's styie of piano writing, although he eventually went beyond
the kinds of n uance th e harpsichord can offer. M ozart's u se of the
harpsichord apparentiy declined a s he began to adopt th e piano in the
eariy to m id-1770s, but th e clavichord rem ained im portant to him
throughout his iife. Much of his keyboard m usic works weii on the
ciavichord, even if it se e m s m ost at home on a V iennese style piano
of th e time.1 9

T here is a particuiar difference betw een the th ree keyboard

instrum ents: dynam ics are sensitive to touch on ciavichord and
fortepiano, but not on th e harpsichord. However, the th ree eariy
instrum ents have in com m on a ciarity of attack and tone, severai
distinct tim bres from b a s s through treble registers, and a reiativeiy
short sustaining power, making them similar to each other more
than any one of them is to the modern piano. T h ese diverse
particularities definitely influenced M ozart's keyboard writing.

T he term "fortepiano" is u sed today to differentiate any early

piano from th e m odern instrument; in the 18th century, the words
"piano," "pianoforte," and "fortepiano," m eant the sa m e instrum ent.
Com paring M ozart's instrum ent with the m odern piano, the range
from pianissimo to fortissimo on a V iennese piano is far less than
the distance from one extrem e to the other in a modern grand piano
which is capable of greater volume. The V iennese piano, which has
bright tone and acoustical balance, may focus its tone at a greater
distance and carry weii; thus, it is perfectly a d eq u ate with an
 14
orchestra of th e size and m akeup Mozart expected for his piano
concertos. Although th e range from soft to loud is sm aller, the
effect of dynam ic contrast is much g reater than if th e sa m e levels
were transferred to th e m odern piano, b e c a u se on a fortepiano the
fortissimo level clearly a p p ro ach es the limits of th e instrum ent and

also loud to n es on th e fortepiano em phasize the upper partials even

more than th o se of th e m odern piano, so that the sound brightens
more in proportion to increased volume. Furtherm ore, the textures of
piano m usic in th e 18th century are thin, unlike th e textures of Liszt
and Rachmaninoff, ... making an abrupt transition from loud to soft or
going beyond a certain d eg ree of dynamic contrast on the m odern
piano without g re ater textural contrast ...sound a w k w a rd .20

Mozart did not give much liberty in dynam ics or in agogics, so

only limited freedom is perm issible. On th e few occasions when he
does indicate fortissimo, Mozart m ean s maximum ex p ressiv en ess,
not maximum v o lu m e .2 1 With th e se considerations in mind, the
instrum ents for which he com posed w ere not capable of the volume
of ours today. In order to imitate the sam e dynam ic level a s
fortepiano, it is probably e a sy to think that M ozart's forte m ay
equate to th e m ezzo forte of the modern piano; his m ezzo forte m ay
equate to th e mezzo piano of the m odern piano, etc. However, this
approach, lowering th e more powerful instrum ent to su ch limits,
denies the m odern piano its natural levels of sound: m ezzo forte
will not sound a s forte in term s of the instrum ent's attack, overtone
content, and obvious latent p o w e r.2 2
 15
A nother obvious point of com parison betw een V iennese and
m odern pianos is duration of tone. On the fortepiano the drop-off
from th e initial volume is rapid, after which th e tone dissipates
more slowly; on th e m odern piano the tone dissipates according to a
slower, m ore uniform curve (S ee Figure 1),

Toiic ilL-aiy on mot/crn /inino Tunc dccny on /or(c/n'uno

Figure 1. Duration of tone

The m odern piano's sm ooth tonal decay cre a te s an approximately

true legato, defined a s continuing a tone at full strength into the
ensuing tone. On th e other hand, the many short-term diminuendi
characteristic of ap p o g g iatu ras, th e strong-w eak dynam ics of
d isso n an ce and resolution, and other common 18th century
figurations project far m ore readily when the initial tonal d ecay is
rapid. T he V iennese piano's rapid tonal decay is also helpful in
effecting any su d d en , large-scale dynamic change.23

The tone of the V iennese piano is brighter and lighter than that
of th e m odern piano. Its variation in timbre acro ss the range and the
clarity of th e tone is m ore apparent than in the m odern piano. The
distinct colors from one register to another on the V iennese piano
clarifies contrapuntal p a s s a g e s and o rch estrates the m usic in subtle
ways. However, a s with the m odern piano, b ecau se the tone is
som etim es stro n g est in th e middle and lower ranges, perform ers
 16
should co n sid er th e balan ce betw een higher registers and lower
registers. T he fortepiano's clarity of tone allowed M ozart to u se full
chords in th e bottom of th e range, and th e se provide further
difficulties on th e m odern piano. Thus, playing M ozart's piano music
on th e m odern instrum ent should be very discreet and justified.

T hat th e fortepiano's attack is sh arp er and m ore p recise with

its rapid tonal d ecay allows g reat clarity of articulation. C lear tone,
lively action, and precise attack also allow m any d e g re e s of
d etach ed playing and contribute to the fortepiano's g reat rhythmic
in c is iv e n e s s .

Creating th e sa m e function of a dam per pedal on the modern

piano, th e V iennese fortepiano h as a raising dam per controlled by a
knee lever, but it is a s sensitive to half pedaling a s a m odern pedal
and can create delicate sound. If the sam e pedaling is u sed for the
m odern piano, it will c a u se a chaotic sound. Perform ers raised
dam pers on th e fortepiano to enliven and vary the tone quality. The
claim th at Mozart did not u se the pedal or u sed it only sparingly is
not correct. He probably u sed it m oderately in the rom antic se n se ,
but a s a device for diverse coloring he may well have used it a great
d e a l.24

Many V iennese pianos of M ozart's tim e included th e so-called

m oderator which created a muted effect and w as o p erated by a
handstop: however, they did not offer a true una corda pedal until
after 1800. In th e early 19th century, the V iennese instrum ents
 17
w ere primarily intended for popular family m usic rath er than for
se rio u s works.

Damping on th e V iennese fortepiano is also rapid. This rapid

dam ping com plem ents th e n ecessity for the 18th century's
preoccupation with su b -p h ra se s within p h ra se s and th e subtle
articulation. M ozart wrote to his fath er about S tein 's beautiful
fortepianos and praised th e damping:

This time I shall begin at once with Stein's pianofortes.

Before I had se e n any of his make, S path's claviers had
alw ays b een my favorites. But now I much prefer Stein's,
for they dam p ever so much better than the R egensburg
in stru m en ts. 25

The m odern piano also offers rapid damping, but in m any c a s e s the
effect is not a s crisp and com plete b ecau se the sound h a s not
dropped off a s much a s it could in the fortepiano. On th e modern
piano, th e m assive to n e p ersists until dam ping is stopped. This
sound quality and effect is adm ired and em ployed in th e legato
characteristic of rom antic writing, and th at is why th e piano
developed a s it did.

Both actions of th e V iennese piano and th e m odern grand

require follow-through and ongoing motion betw een notes, but a
w ell-adjusted V iennese action is far m ore rapid and responsive. The
m odern action produces a powerful tone; th e V iennese action is much
sim pler and lighter in touch with an extrem ely rapid resp o n se, thus,
notes can be rep eated easily and with great rapidity. T he m ost
im portant quality of th e V iennese action is th at it allows the player
 18
full control over all possible dynam ic levels, including an ultra­
pianissim o. Thus, although the dynamic range is m ore com pressed
and seem ingly m ore limited than that of the m odern piano, the action
allows a com plete ex p ressive range within th o se limits.26

A final difference betw een th e early and m odern instrum ent is

the pedal piano which is a subsidiary piano resting on the floor and
activated by pedals similar to th o se of the organ. T he range of the
pedal piano extended below about 1 1/2 octaves from the lowest C
of th e m odern piano. Mozart used it a lot and used it to double the
left hand b a ss part. O ne exam ple of his writing an independent pedal
part is in th e first m ovem ent of the D minor concerto, K. 466, where
the pedal piano tak es th e b a ss notes, the left hand plays mid-range
chords, and th e right hand plays 16th notes.27 To play on the modern
piano, pianists a re technically justified in occasionally doubling the
b a ss in o ctaves on th e piano. However, considering that the b a ss on
the m odern grand easily ex ceed s balance and clarity achieved on an
18th century pedal piano, pianists should play the b a s s softly with
intensive attention. T herefore at this point, a perform er should
adjust his handling of m usic and the instrum ent to reproduce
approxim ately th e original 18th century sound on th e 20th century
modern piano. Leopold Mozart wrote a letter to his daughter in
March, 1785 describing W olfgang’s ac c e ss to a pedal piano:

He h as had a large fortepiano pedal m ade, which stan d s

under th e instrum ent and is about two feet longer and
extrem ely heavy. It is taken to the Mehlgrube every
Friday and has also been taken to Count Zichy's and to
P rince K aunitz's.28
 19
Therefore, it is very possible to believe that M ozart's first
perform ance for his D minor concerto w as on the pedal piano in
Mehlgrube on February 11th, 1785.

T he evolution of th e piano relates directly to stylistic ch an g es

in piano writing from th e Baroque period using polyphonic textures,
to th e C lassic period u se of hom ophonie textures which strongly
em phasize a treble melody supported by underlying harm onies. This
m ade th e writing style m ore dependent on touch sensitive dynamics.
A nother im portant factor m akes the instrum ent ultim ately develop
into th e m odern piano: a new style developed by Clementi, Dussek,
and others and inherited by Beethoven, tends to be thicker and more
uniform without any special correlation betw een texture and volume.
Long range legato becom es th e pianist's point of departure and the
em p h a ses shifts to actual dynam ic variation, as o pposed to the more
varied articulation of th e 18th century.

This new playing styie which represented th e piano's future

w as ignored by Mozart, and his keyboard style m aintained the light
textures of th e high galant period, based on harpsichord and
clavichord style. According to Czerny, Beethoven said "that he had
heard Mozart play several tim es and that, since th e fortepiano w as
still in its infancy in his time, Mozart had becom e accustom ed to a
style of playing on th e more commonly used harpsichord that w as in
no way suited to th e fortepiano." On another occasion, Beethoven
claimed that Mozart had a delicate but choppy touch with no legato,
which Beethoven at first found very strange, since he w as
 20
accustom ed to treating th e pianoforte like an o rg a n e s However,
M ozart's playing w as wideiy adm ired for its sensitivity, deiicate
touch, and fluency- qualities for the dispiay of which his concertos
provide am pie opportunity.^o In his time, Mozart w as revered a s the
most expressive and astounding of pianists. The change in ta ste s
w as m ore than a m atter of playing styles. The shift to a standard of
uniformly legato touch began around 1800. Before 1820 or so, an
artist's playing styie m eant his com positional and im provisatory
styie, not ju st what th e m eaning implies today by interpretive
s ty ie .31

In conclusion, M ozart's m usic and playing styie generally

adopted th e harpsichord technique which relies on differences in
articulation to en h a n ce th e variety of the musical texture for the
fortepiano. However, th e new style no longer eq u ated texture with
volume: thin writing might be played loudly, thick textures might be
played softly. This new writing d o es not require a delicate play of
articulation to bring out its contours, but esta b lish e s its expression
more on dynamic n u an ces and contrasts, and the u se of pedal
becom es m ore frequent, popular, and necessary. To correspond with
th o se factors and n eed s, the new style found its b est expression not
in th e V iennese piano, but in the English type with its m ore m assive
and su stain ed tone, heavier action, and slow er damping. It w as the
instrum ent th at ultimately developed into the m odern piano,
although th e V iennese piano took on som e of its features during the
19th century before disappearing around 1900.32
 21
On the modern piano, upper octaves are too brittle and the
lower o n es are far too thunderous, thus creating m any technique
problems and the lack of a uniform tone. In order to achieve a more
unified m usical effect, play a more cantabile sound in th e upper
octaves and a less ponderous feeling in the b ass. Knowing the
original sound relationships and understanding th e se musical and
instrum ental differences can lead us closer to M ozart's musical
thought and en co u rag e m ore accu rate stylistic interpretations and
perform ances of his music.
 22

REFERENCES

1. Michael Levey, The Life & Death of Mozart (New York: Stein and
Day, 1971), p.156.

2. Ibid.

3. H. 0 . Robbins Landon, Mozart and Vienna (London: Tham es and

Hudson, 1991), p. 45.

4. ibid., p. 49.

5. Stanley Sadie, editor. The New Grove Dictionary of Music and

M usicians (London: Macmillan Publishers Limited, 1980), p. 714.

8. ibid.

7. 0 . M. Girdlestone, Mozart's Piano Concertos (London: Cassell,

1978), p. 330.

8. C harles Rosen, The Ciassicai Styie: Haydn, Mozart, Beethoven

(New York: T he Viking P ress, 1971), p. 278n.

9. Eva and Paul Badura-Skoda, interpreting Mozart on the Keyboard

(New York: St. Martin's P ress, 1962), p. 210.

10. Friedrich Blume, edited by H. C. Bobbins Landon & Donald Mitchell,

The Mozart Companion (New York: W. W. Norton & Company, Inc.,
1969), p. 232.

11. Otto Jah n , T ranslated by Pauline D. Tow nsend, Life of M o z a rt,

(London: Novello, Ewer & CO., 1891), Vol. 2, p. 477.
 23
12. Norbert Elias, Mozart: Portrait of a Genius (California:
University of California P ress, 1993), p. 39.

13. Ivor Keys, Mozart: His Music In His Life (London: G ranada
Publishing, 1980), p. 171.

14. Alfred Einstein, Mozart: His Character and His Work (London:
Oxford University P ress, 1945), p. 307.

15. H. C. Robbins Landon, The Mozart Companion (New York: W. W.

Norton & Company, Inc., 1969), p. 274.

16. Leon Stein, Structure & Style (Princeton: Summy-Birchard

Music, 1979), p. 164.

17. B adura-Skoda, op. cit., pp. 266-267.

18. David Dubai, T he Art of the Plano: Its Performers, Literature, and
Recordings (New York: Summit Books, 1989), p. 370.

19. Richard Troeger, "Mozart's Piano and the Modern Grand," Clavier,
Vol. 30, No. 10 (Dec. ,1991), p. 19.

20. Ibid.

21. Lili Kraus, "Marriage to Mozart," Music Journal, Vol. 24, No. 10
(Dec., 1966), p. 53.

22. Troeger, op. cit., p. 19.

23. Ibid., p. 20.

24. Ibid., pp. 20-21.

25. Emily A nderson, The Letters of Mozart and his Family (New York:
St. Martin's P ress. 1966, Vol. 1), P. 328.

26. Ibid., p. 21.

27. Ibid., p. 22.

28. A nderson, Vol. 2, pp. 888-889.

29. Troeger, op. cit., p. 22.

 24
30. Reinhard G. Pauly, Music in the Ciassic Period (Englewood Cliffs:
Prentice Hall, Inc., 1973), p. 136.

31. Troeger, op. cit., p. 22.

32. ibid., p. 23.

 CHAPTER II

ANALYSIS

The D minor concerto w as com pleted by February 10th, 1785.

The orchestration includes strings, one flute, two o boes, two
b asso o n s, two horns, two trum pets, and two timpani. The work h as a
sharply defined personality and reach es far beyond "beauty of style"
and "perfect form". Two thoughts w ere found and grew through his
works from 1784 to 1786. O ne is sparkling and shallow; the other is
d e ep e r and more intimate which occur especially from 1785 to
1786.1 The difference betw een the concertos of 1784 and 1786 is
that each one of them w as less unlike the others.

The First M ovement

The allegro of th e opening m ovem ent is in so n a ta form, which

is th e usual design of th e first m ovem ent of C lassical period
concertos. T here are five sections: Exposition I, Exposition II,
Developm ent, Recapitulation and Coda. An outline of the first
m ovem ent is p resen ted a s follows:

25
 26

The First Movement: Outline

Exposition I (orchestra only) : mm. 1-77, D minor

T hem e 1 : mm. 1-15, D minor.

Transition 1: mm. 16-32, D minor
T hem e 2 : mm. 33-38, F
Transition 2: mm. 44-70, D minor
Closing them e : mm. 71-77, D minor

Exposition II : mm. 77-192, D minor-F

Piano Subject 1 : mm. 77-88, D minor

Them e 1 : mm. 91-105, D minor
T hem e 2 : mm. 115-120, F
Piano Subject 2 : mm. 127-135, F
Piano Climax : mm. 153-174, F
Transition l a : mm. 174-185, F
Closing them e : mm. 186-192, F

D ev elo p m en t : mm. 192-254, F-G minor-Eb-D minor

Section 1 : mm. 192-229, F-G minor-Eb

Piano Subject la : mm. 192-199, F
Piano Subject 1b: mm. 206-213, G minor
Piano Subject 1c: mm. 220-227, Eb
Section 2 : mm. 230-254, Eb-D minor

R ecap itu latio n : mm. 254-365, D minor

 27

T hem e 1 : mm, 254-268, D minor

Transition 1 : mm. 269-287, D minor
T hem e 2 : mm, 288-293, F
Piano Subject 2 : mm. 302-310, D minor
Piano Ciimax : mm, 330-356, D minor
Transition 1a : mm, 356-365, D minor

C a d e n z a : free form

C o d a : mm, 366-397, D minor

Transition 2 : mm, 366-384, D minor
Closing th em e : mm, 384-390, D minor
C odetta : mm, 390-397, D minor

The First M ovement: D iscussion

T he striking opening, with th e throbbing syncopations over a

dominating figure in th e b ass, h a s an alm ost tragic ch aracter and it
see m s to haunt and m en ace the hero, cast in the "Don Giovanni"
m old,2 On th e technical side th e first m ovem ent ask s for good broken
octaves and broken chords.

Exposition I

T h ere are two types of opening tuttis in M ozart's piano

concertos. T he first type p resen ts the principal th em es on which the
m ovem ent is built, in th e order in which they are to return later. The
 28

seco n d type displays th e tutti a s a m ere introduction. It introduces

th e first su b ject, th en b u sies itself mainly with seco n d a ry elem ents
which either do not re ap p e a r or prove to be subordinated to other
su b jects not included in it. As described by G irdlestone, the opening
tutti of th e D minor is an "argument." It contains all th e th em es of
the m ovem ent, but s a v e s the solo introduction (the first piano
subject) and th e seco n d part of the second subject (the second piano
s u b je c t).3 T he first th em e is b ased on th e rep eated notes, soft
dynam ics, a sy n co p ated rhythm, and the form ula of th e rising triplet
which cre a te its p assio n and threatening quality, em phasized in each
m easu re of th e b a ss with th ree rising notes (S ee Figure 2).

S lr .J J

Hro.

Figure 2. 1st M ovement, first them e, mm. 1-8

Although th e re is no singing melody at all, an interesting figuration

occurs at m ea su re 3. The very character of the whole m ovem ent is
 29

ex p ressed in th e first 15-m easure opening, one of the m ost personal

and powerful openings to be found in Mozart’s works.

T hree tw o-m easure se q u e n c e s in mm. 9-14 follow and lead to

the first loud dynam ic part in m easure 16. It is evident that Mozart
u sed galant style, featuring a soft beginning followed by a sudden
forte, in this entire m ovem ent. T he Schleifer (double appoggiatura)

continuously brings out th e energetic motive of a descending broken

chord in m easu re 18. T he rolling neighboring tone motive in m easure
21 form s an im portant transition in mm. 16-32 and re ap p ears later
(See Figure 3).

Figure 3. 1st M ovement, transition, mm. 18-22.

This transition with m arching rhythm at the end lead s to

them e 2 in th e relative major, which is built on a dialogue pattern
played by oboe and flute in contrasting rhythms and rising
sequentially each time by one scale degree (S ee Figure 4).
 30

O b. Ob.
Ol>
a IîD à m
É m m
_ V I.
kt. t . VI-

F?. m F f.
w #
Ff. '^ m

Figure 4. 1st Movement, second them e, mm. 33-38.

A five-m easure bridge (mm. 39-43) leads back to D minor and

connects to th e agitated p a s sa g e of the rolling octave figure in
m easu re 44 which will take an important role later in the Exposition
II (S ee Figure 5).

Figure 5. 1st Movement, rolling octave figure, mm. 44-46.

T he rolling octave figure looks like new m aterial which

ap p ea rs in m easu re 44, but actually it incorporates th e three
preceding m aterials. The melody of the rolling octave figure in mm.
44-46 is derived from the second half se q u en ce of th e melody from
 31

the first th em e in mm. 9-12, but in condensed form (only half as

long a s before). The rhythm of m easure 44 is derived from the dotted
quarter note of m easu re 21, and the rhythm of th e first beat of
m easu res 45 and 46 is derived from the b a ss in the first beat of
m easure 28 (S ee Figure 6).

O b.

dg

->

Figure 6. 1st Movement, derivation of rolling octave, mm. 44-46

 32

This rolling octave figure brings out th e descending broken

chord again in mm. 48-53, followed by a fresh p h ra se with
alternating fortes and pianos. Then, the m usic is suddenly
interrupted by rests and a soft su sp en d ed cad en ce at mm. 67-68. A
closing th em e in mm. 71-77 com pletes the previous p h rase and leads
to th e beginning solo.

The typical style of Mozart is characterized by tension and a

p a ssio n a te outburst, followed by relaxation and a sentim ental
answ er. T he p ersiste n ce of the strife and passion in this m ovem ent
is unusual, m ore like that of Beethoven. The only truly M ozartian
feature is th e su d d en drop in m easure 69 and the despairing
gentlen ess of th e cad en ce in m easure 71. Even the piano writing in
this allegro h a s two featu res which are non-typical for Mozart but
common for B eethoven: much use of the lowest registers and wide
spacing, com paring to th e first m ovem ent of B eethoven's D minor
sonata, op. 31, no. 2.4

Exposition II

It is surprising that th e piano solo sings th e com plete new and

lyrical first su b ject in m easu re 77 (Figure 7) which lasts 11
m easu res and ap p ea rs again only in the Developm ent instead of in
th e R ecapitulation.
 33

1-

<

Figure 7. 1st Movement, 1st piano subject, mm, 77-87,

The piano o p en s the seco n d exposition with an entirely new melody

also h ap p en s in B eethoven's first piano concerto, op, 15, A few
m easu res of bridge material lead back to the first th em e played by
the o rch estra in m easu re 91, extended by three tw o-m easure
s e q u e n c e s overlapping with piano bravura, followed by a march
rhythm played by th e piano and extended by the orchestra in mm,
108-114, T he first them e here is shorter than before, due to the
om ission of mm, 16-27 in th e Exposition I, but which will a p p ear
later in th e o rchestral transition (mm, 174-184).

In m e a su re s 88-89 of the first m ovem ent, Mozart wrote four

low n o tes for th e left hand (doubling the timpani) along with som e
chords two o ctav es above while the right hand plays so m e rapid
p a s sa g e work. B ecau se it is impossible to stretch th re e octav es by
one hand alone, th e se m ea su res have elicited so m e different
 34

explanations. According to Rosen, a second piano to play continue on

the low notes h as been su g g ested, along with the u se of a piano with
pedal keyboard (which Mozart actually owned at that time). It is
m ost probable th at Mozart originally wrote the low notes and then
changed his mind and ad d ed the chords without crossing out the first
v e r s i o n .5 However, due to the factors d iscussed in C hapter 1 , I still
believe th at Mozart’s first idea for the D minor concerto w as to use
the pedai piano.

M easures 91-114 are an important advance in m usical skill as

a su stain ed in crease in rhythmic motion cre a te s th e excitem ent and
climax of th e music. The whole sh ap e of the p a ssa g e is a gradual and
p a ssio n ate ascent.®

T he second them e in F major appears at m easure 115, but this

time th e piano su b stitu tes for the flute in the question and answ er
phrase. M ozart's concept of soloist and orchestra in the concerto as
eq u als is evident from their frequent sharing of them es, as in mm.
115-116. A bridge follows and leads to the second piano subject in
m easu re 127 which is also in F major, repeating the first half of the
phrase one scale d egree higher (S ee Figure 8).
 35

Figure 8. 1st M ovement, 2nd piano subject, mm. 127-135.

The rhythm of th e seco n d piano subject is derived from m easu res 64

and 69. This piano subject is repeated by woodwinds with piano
descending s c a le s at m easu re 135.

T he next large section contains the th ree trills for the piano
which c re a te an im portant climax. Actually, th e first trill in
m easu re 152 w ants to end the phrase which is developed from the
seco n d piano subject, however, it is immediately continued by the
rolling octave figure which is derived from m easu re 44 in
Exposition I and intends to reach the second and the third trills in
m ea su re s 158 and 173. The piano climax displays the combination of
scales, arpeggios, and broken octaves, it is achieved by the
reinforced rolling octave figure in this section which is longer than
th e usual bravura p a s s a g e s which close first solos.
 36

After a long silence, the powerful first th em e e n te rs again in

the o rch estra transition at m easu re 174 which is derived from the
Exposition I in mm. 16-26 and mm. 69-77, but tra n sp o sed into F
major and leads to th e Development.

D evelopm ent

The first piano subject ap p ears in the D evelopm ent in m easure

192, but is reduced to sev en m easu res and treated in a special
m anner. The piano solo “sings” this reduced subject th re e tim es in
the keys of F major, G minor, and E flat major. T he subject is
interrupted twice by th e orchestra, which plays th e motive of the
first th em e for four m easu res. It forms th e first section of th e
D evelopm ent which featu res extrem e contrast and conflict betw een
the lyrical m elody and th e anxious motive of th e first them e. The
plan of starting th e D evelopm ent with the solo introduction of the
exposition an d of omitting this introduction in th e recapitulation
occurs again in Mozart only in his C minor concerto, K. 491.7

T he last a p p e ara n ce of the subject with a different version is

followed by a se rie s of arpeggios with the Schleifer motive played
by strings in th e second section of the Developm ent. This kind of
treatm ent is a m ost dram atic reduction of th e motive to its
sim plest sh ap e. The series of arpeggios is built on th e rising keys of
E flat, F minor, and G minor. The music here attem pts to play loudly,
but contrary to our expectation, Mozart turns th e m usic into a soft
dynamic level in mm. 232-252, then a sudden forte in m easu re 253.
 37

The rolling motive which is derived from m easure 21 in the

Exposition I ap p ears in m easu re 250 and leads to the Recapitulation
in m easu re 254. The first th em e do es not a p p ear in the Development,
but the motive of the first them e is used a s an interruption and as
the background.

R e c a p itu la tio n

There is no first piano subject in the Recapitulation. M easures

254-298 in th e Recapitulation are the sam e a s mm. 1-43 in the
Exposition I, except the marching rhythm is extended to sev en
m easu res and the piano is added in the Recapitulation. The second
them e in m easu re 288 rem ains in the sam e key, F major, a s in the
Exposition, but the second piano subject in m easure 302 is back to D
minor, remaining in the tonic key to the end. This is the only exam ple
in Mozart concertos of a seco n d them e appearing all three tim es in
the sam e key.8

The seco n d half of th e Recapitulation (mm. 302-365) is alm ost

the sam e a s mm. 127-181 in the Exposition II, but th e tonic of D
minor is u sed throughout. T he earlier treatm ent to achieve th e piano
climax by m ean s of playing the th ree trills is introduced in a
different version with additional expanded m e a su re s (com pared with
th e Exposition II).

The transition in mm. 356-363 leading to the C ad en za is

derived from m easu re 16 in the Exposition I, but is shorter. Actually,
 38

this eig h t-m ea su re transition a p p e a rs a total of four tim es: (1) in

the Exposition I, mm. 16-23; (2) in the end of the Exposition II, mm.
174-181; (3) in th e Recapitulation, mm. 269-276; (4) and at the end
of th e R ecapitulation, mm. 356-363.

Cadenza

Since no original c ad e n z a by Mozart for this concerto w as

found, I studied the c ad en za by Beethoven.

T h e trills with th e Schleifer motive in the b a ss, follow the

tonic six-four chord by the orchestra, and begin th e dram atic
cad en za. T he broken chord in the high register and the block chord
with syncopation rhythm in the low register alternate in mm. 4-7. A
N eapolitan sixth chord occurs at the very beginning in m easu re 4,
then m odulates to B major at m easure 14, repeating the B major
chord until m easu re 17.

T he seco n d piano subject in B major enters in m easure 18 and

is tre ated a s a contrapuntal device. The tw o-beat rests in m easu re
25 s e p a ra te th e developm ent of the subject, recalling th e su sp en d ed
ca d en ce of th e first m ovem ent at mm. 67-68, but th e difference is
that the rests in th e ca d e n z a also imply the key ch an g e from B major
to B minor. After the rests, the second piano subject, tra n sp o sed to
B minor, is accom panied by the triplet figure in m easu re 26. The
seco n d half subject (ascending broken chord with th re e sc a le notes)
continuously develops, then links to the first them e in G minor at
 39

m easu re 35. T he first piano subject (with th e triplet figure

accom panim ent) follows in m easure 42 and returns to D minor,
which continues to the end of the cadenza. T he quotation of this
first piano subject is not com plete (using only th e first 7
m easu res), and u se of th e incom plete melody links to a long difficult
scale, piu presto, at m easu re 50. A melodic fragm ent with a
Neapolitan sixth chord ap p ears in mm. 56-58 in middle, high, and
higher registers respectively. It is followed by a rapid descending
and ascending D minor scale, which links to th e long ending trill
(with th e Schleifer figure in the bass) in mm. 59-65. T he trill is
built on th e dom inant chord of D minor and resolves to the tonic key
in th e following orchestral coda.

The m elodies of B eethoven’s cad en za are M ozart's, but the

touch and th e rhetoric are emphatically B eethoven's. According to
Kramer, th ere are so m e intervallic relationships in th e th em es
which are employed and varied in the cad en za by Beethoven.^ (See
Figure 9)
 40

■p

N/

Figure 9. C ad e n za by B eethoven, som e intervallic relationships.

 41

The melody In m easu re 57 of the first m ovem ent cad en za, Bb- G- E-
F, is derived from th e converse of the first piano su b ject (m easure
221) of th e first m ovem ent and also derived from th e seco n d piano
subject of th e first m ovem ent. The harm ony in the sa m e m easure 57
is derived from th e Neapolitan sixth chord at th e seco n d piano
subject (m easu re 307) of the first m ovem ent. This m elody (m easure
57, 1st m ovem ent cadenza) is also reflected in m easu re 30 of the
third m ovem ent cad en za. The two notes in m easu re 31 of the third
m ovem ent c a d e n z a are obviously related to m easu re 63 of the third
m ovem ent and also related to the second th em e of th e first
m ovem ent.
 42

Coda

After th e C ad en za, the C oda (for orchestra only) follows In

mm. 366-397 and is alm ost the sam e a s the second half of the
Exposition I in mm. 44-77, except for om ission of the rep eated
phrases mm. 53-57 and mm. 61-64 in th e Exposition I, and an added
eight-m easure conclusion at the end in mm. 390-397. Here th e
opening triplet figure returns again to evoke deep passion, but this
time it is m ore languid, perhaps su g g estin g that the struggle still
goes on, but with d espair and exhaustion. There is no triumph and
victory, but only p ersistence. The entire m ovem ent ends in a soft
dynamic level, a s in the beginning.

The closing them e plays an im portant role in this m ovem ent.

The first a p p e a ra n c e is in mm. 71-77 and it is followed by th e first
piano subject. T he second ap p earan ce is in mm. 186-192 right before
the D evelopm ent, and it is followed again by the first piano subject.
The last a p p e a ra n c e ap p ears in mm. 384-390, ending the m ovem ent.
The relationship betw een the closing th em e and the first piano
subject is ap p aren t.

Conclusion

In conclusion, th e Exposition I is like an overture; all them atic

m aterials a re p rese n ted first in the Exposition I. Furtherm ore, it is
distinctive to add a new them e as a piano subject in the Exposition
II. In th e D evelopm ent, the beautiful piano melody and contrasting
 43

orchestral th e m e s are played in alternating fashion. This approach of

interplay occurs not only in the Development but also in the second
them e and th e second piano subject. This is similar to a small
blueprint of B aroque concerto form: tutti (ritornello) + solo + tutti +
solo. On th e whole, the roles of solo and orchestra a re in opposite
positions ra th er than in collaboration. The o rch estra rep resen ts
anxiousness, m enace, struggle, and battle, while th e solo piano
sym bolizes calm, sublimation, intimacy, and p eace. T he orchestra
never plays th e first piano subject, and the piano n ev er plays the
first o rc h e stra l th em e.

The m ost prominent rhythm in this m ovem ent is obviously the

syncopation and the opening triplet figure which la sts for 15
m easures. Strictly speaking, th e syncopated rhythm n ev er occurs in
the solo part, but only in mm. 296-298 and in mm. 227-228 which is
not an im portant part. The o th er interesting rhythm occurs in the
violin part characterized by th e short-long dotted rhythm in
m easures 129 and 304.

M ozart's m elodies in this allegro are com posed by the

repeating of th e first half p h rase by rising scale d e g re e s, such as
the first th e m e in mm. 1-8, the second them e in mm. 33-38, and the
second piano subject in mm. 128-135. Basically, th e first four-
m easure p h ra se of the first piano subject in mm. 77-80 is written in
the sam e m anner, but with rising higher position in th e repeating
 44

phrase. T he p h ra se s in the m elodies are symmetrical, ex cep t the

second th e m e which rep eats the sa m e material three tim es.

The dynam ics for the entire m ovem ent are arranged In galant
style, alternating long p h rases an d large sections. In addition, there
are also Im m ediate contrasts In mm. 48-52, 53-57, 162-164 (solo),
202-206, 2 16-220, 252-253 (solo), 341-343 (solo), a n d 370-374.
The fp a p p e a rs In mm. 344-347 and Is played by the orchestra.

The descen d in g broken chord motive In m easure 18 Is b ased on

a tonic chord In first Inversion (l6) and p ro g resses to a dim inished
seventh chord (vl|o7) jn m easure 19. However, during th e second
time, the harm ony pro g resses to a Neapolitan sixth chord (Ne) In mm.

48-49 and also 53-54. This N eapolitan sixth chord which resolves to
a dominant chord not only enriches the harmony, but also
foreshadow s th e following diverse phrase. A French au g m en ted sixth
chord appearing In m easures 63, 68, and 381 Is formed by th e two
passing n o tes, G# and Bb. Mozart frequently likes to u s e th e major
subdom inant chord (IV) In the minor key such as In m e a su re s 63 (the
first beat), 67, 123 (the last beat), and 296 (the first b eat). Another
example Is on the second and fourth b eats of m easure 126 which
borrows th e m inor subdom inant chord (Iv) from C minor. It Is more
evident In mm. 162-165 where th e minor subdom inant chord Is
m aintained, however, this section Is In F major. The exchanging of
the major an d the minor subdom inant chords Is one of th e
characteristics of M ozart's harm ony. A chrom atic m elody Is formed
 45

in mm. 99-103, an d a single chromatic melody played by the piano

ap p ea rs in mm. 252-253. T hree important dim inished seventh broken
chords occur in mm. 232-233, 236-237, an d 240-241. To increase
the tension, a G erm an augm ented sixth chord ap p ears in m easu re
246, but b eco m es an Italian augm ented sixth chord in the following
m easu re before resolving to A, the dom inant chord of D minor.

A Neapolitan sixth chord occurs again in th e second piano

subject at the first b eat of m easure 307 to extend the music
intensity, th e sa m e in m easu re 315 and a Neapolitan sixth chord also
ap p ears in mm. 323, 348, and 371. The range of the piano register in
this m ovem ent is from low Gi (appearing only three tim es at mm.
213, 238 and 348) to Fe (appearing for th e first time in the very
beginning solo p h ra se at m easure 85).

The Second Movement

Here is a com pletely different world, com pared to the previous

allegro. T he beautiful opening them e strives to let us forget th e
conflict of th e first m ovem ent, a s if the calm arrives after a storm .
Although there is no tem po marking, the title "Romanza" implies that
th e m usic should be lyrical and unhurried. According to the 2/2 time
signature, it is clear th at the tem po should be andante.

This m ovem ent is in rondo form, unusual since there is usually

no standard form for slow m ovem ents which can be in binary form.
 46

three-part song form, d a capo, rondo form, or variation form. The

outline of th e seco n d m ovem ent is presented a s follows:

The Second Movement : Outline

Section A1 : m m .1-39, Bb
(R efrain)
a (solo), mm. 1-8
a (tutti), mm. 9-16
b (solo), mm. 17-24
b (tutti), mm. 25-31
co d etta (tutti), mm. 32-39

Section B ; mm. 40-67, Bb-F minor-F

(Episode 1)
c (solo with strings accom panim ent), mm. 40-63
codetta, mm. 64-67

Section A2 : mm. 68-83, Bb

(R efrain)
a (solo), mm. 68-75
a (tutti), mm. 76-83

Section C : mm. 84-118, G minor- Bb- G minor

(Episode 2)
d, subject 1, mm. 84-91, G minor
e, subject 2, mm. 92-99, Bb
d, subject 1, mm. 100-107, G minor
transition, mm. 108-118, G minor

Section A3 : mm. 119-145, Bb

(R efrain)
a (solo), mm. 119-126
b (solo), mm. 127-134
b (tutti), mm. 135-141
codetta, mm. 142-145
 47

Coda : mm. 146-162, Bb

Tutti, mm. 146-149

Solo, with accom panim ent, mm. 150-157
co d etta, mm. 158-162

The S econd M ovement: Discussion

The conflict during th e first m ovem ent is taken up again in the

middle section of th e R om anza which begins and ends in such
heavenly tranquillity. M ozart n ev er included stro n g er co n tra sts
within a single work, co n trasts am ong the three m ovem ents a s well
a s within e a c h m ovem ent individually.''°

Section A1

The key of Bb is th e subdom inant of F, the relative m ajor of D

minor. T he piano solo opens the second movement and p resen ts the
lyrical rondo th e m e (mm. 1-8) in the form of a parallel period
consisting of two sim ilar p h ra se s (S ee Figure 10).

Figure 10. 2nd Movement, rondo them e, mm. 1-8

 48

The orchestra continues repeating this rondo them e. The piano takes
over a s a solo again and offers a new melody in mm. 17-20 which is
followed by the seco n d half of the rondo them e to form this new
phrase. The orchestra rep e ats this new p hrase again, then goes to
the codetta (mm. 32-39) which forms the C oda and leads to section
B. Section A1 consists of interplay betw een piano and orchestra.

Section B

in section B, th e piano plays the principal role and the

o rchestra only furnishes th e accom panim ent. The piano plays all
melodic lines which are very lyrical and expressive, like an aria. The
sim plest m elodic lines, often with bare notes in th e left hand, occur
in m easu re 40. Seldom h as Mozart presented a melody pattern like
this. This extrem ely sim plistic m elody obviously indicates that
Mozart filled in som e of th e bare harm onies with chords in the left
hand, if he did not ornam ent and embellish the melody itself. Also
according to G irdlestone, th e solo in th e first episode, especially in
mm. 48-55, is but an outline; the pianist m ust fill it out and also
fill in the chords of th e b a ss in mm. 56-67.12 T he p h rase structure
in this section is a long pattern which contains six four-m easure
p h rases (mm. 40-63), and a codetta (mm. 64-67) which is also a
four-m easure phrase, leading to section A2. T here is no repetition of
p h rase s in this episode, rather, each p h rase is different. A
tem porary modulation to F minor occurs in mm. 56-59 before
returning to Bb major in m easu re 68.
 49

S ection A2

A cadenza-like m easu re leads back to the rondo them e again.

Section A2 is sh o rter than section A1 and only p resen ts th e rondo
them e twice by th e piano and th e orcheatra.

Section C

T he contrasting and agitated section C ap p ears in G minor in

m easu re 84 with loud dynam ics. There are many contrasts in this
section including mood ch ange, key shifts, dynam ics, and rhythmic
alterations, su ch a s the transform ation of the eighth note into a
triplet (Figure 11).

- - — -

^ 3

Figure 11. 2nd Movement, section C, mm. 84-87

 50

The entire section is b a se d on this triplet rhythm until mm. 113-

118, w here th e figuration shifts to sixteenth notes, then triplets to
slow er eighth notes which return to the calm and peaceful rondo
them e. T he piano com bines with an important wood wind
accom panim ent throughout this section, and crossing hand piano
tech n iq u e is em ployed often in th e section. This “storm -like” middle
section, com pared with th e opening rondo them e, is extended from
the previous p assio n ate m ovem ent; although th ere is no tem po
ch an g e mark, fa ste r tem po is a sp o n tan eo u s result. According to
G irdlestone, th e proof of th e change is in the note v a lu e .

T he first subject, double b ar and rep eat in G minor in mm. 84-

91, begins with an ascending arpeggio w hose sh a p e resem bles the
later opening rondo them e of the third m ovem ent, and then a
descending sc a le (m. 85) derived from m easu re 28 of th e first
m ovem ent. T he seco n d subject in mm. 92-99 returns to the tonic (Bb
major) and th e figuration begins a descending arpeggiation derived
from th e first subject in m easu re 84. After twice tw o-m easure long
d escen d in g arpeggios (mm. 95-98), the m usic returns to the first
subject in G minor again at m easure 100. A G erm an augm ented sixth
chord occurs in th e last b eat of m easu res 104 and 105.

A long transition in mm. 108-118 consecutively u s e s the

figure of th e first su b ject (ascending arpeggio) th re e tim es to
create th e climax of th e m ovem ent, and then returns to the tender
rondo th em e A3 in Bb again at m easure 119.
 51

This middle section covers all registers of th e keyboard from

low F (three o ctaves below middle C) in m easu re 98 to high F (two
octaves above middle C) in m easure 95.

Section A3

Due to the omission of one rondo them e played by the

orchestra, it se e m s th at th e piano solo (mm. 119-134) b ecom es
longer than in section A1. C om pared with section A1, th e codetta
ad d s th e piano to deco rate the orchestra this tim e in mm. 142-146.

Coda

The coda is com posed on an extensive codetta motive. The

melody is played by the orchestra first at m easu re 146, then the
piano rep eats it at m easu re 150. Due to passing tones, an augm ented
sixth chord occurs at th e third beat of m easu re 148. T he rhythm of
mm. 154-157 is related to mm. 39-43 in the first m ovem ent. The
m ovem ent en d s in serenity with soft dynam ics. T he syncopation
rhythm hardly ap p ears in th e lyrical second m ovem ent, but only in
m easure 87 by th e o rchestra and the last m easu re by th e piano to
subtly remind us th at th e mood of the first m ovem ent is not entirely
ex tin g u ish ed .

In th e refrain and first episode, the strings play m ore often

than th e winds, and when th e orchestra joins th e piano, it is
confined to accom panying. However, the winds play an im portant role
in the middle section: th e bassoon doubles th e piano treble at
 52

m easure 93, and the oboe doubles the piano b a ss at m easure 94. In
all Mozart’s piano concertos (except K. 449), th e com bination of
piano and solo woodwind is one of M ozart's unique d e v ic e s .14

The Third Movement

T he prestissim o of th e final m ovem ent is in sonata-rondo form

w here th e seco n d ep iso d e (the Developm ent) joins directly to the
third ep iso d e without a return of the refrain. This is a special type
of rondo first developed by Mozart, being especially d esigned for use
in th e concerto. It is explicit th at B eethoven followed M ozart's
sonata-rondo form in his last piano concerto in E flat major. Op.
73.15 The differences betw een sonata-rondo form and so n a ta form in
concertos are: (1) th e refrain of th e sonata-rondo usually begins
with th e solo instrum ent rath er than with th e o rch estra, and (2) the
refrain alw ays recurs in th e tonic key.

An outline of th e final m ovem ent is p re se n te d a s follows:

The Third Movement: Outline

Section A1 : mm. 1-62, D minor

(E xposition)
a (solo). Rondo Them e, mm. 1-13
ai (tutti). Rondo Them e, mm. 13-29
b (tutti), mm. 30-50
c (tutti), Transition, mm. 51-62

Section 81 : mm. 63-166, in D minor- F- F minor- F

d (solo). Subject 1, mm. 63-73, D minor

 53

a, Rondo Them e, mm. 73-91, D minor- F

e (solo). Subject 2, mm. 92-97, F minor
e (subject in tutti). Subject 2, mm. 98-110, F minor- F
f, mm. 111-138, F
g (tutti). Subject 3, mm. 139-146, F
g (subject in th e piano). Subject 3, mm. 147-160, F
codetta (sole), mm. 161-166, F

Section A2 ; mm. 167-195, D minor

a (solo). Rondo Them e, mm. 167-180

ai (tutti). Rondo Them e, mm. 180-195

Section C : mm. 196-270, A minor- G minor- D minor

(D evelopm ent)

d (solo). Subject 1, mm. 196-206, A minor

a. Rondo Them e, mm. 206-229, A minor- G minor
d (solo). Subject 1, mm. 230-240, G minor
d. Subject 1, mm. 240-270, D minor

Section B2 : mm. 271-345, D minor

(R e c a p itu la tio n )

e (solo). Subject 2, mm. 271-276

e (subject in tutti). Subject 2, mm. 277-289
f, mm. 290-301
g (tutti). Subject 3, mm. 302-309
g (subject in th e piano). Subject 3, mm. 310-317
f, mm. 318-337
c (tutti). Transition, mm. 337-345
C adenza

Section A3 : mm. 346-353, D minor

a (solo). Rondo Them e, mm. 346-353

 54

Coda : mm. 354-428, D

g (tutti), Subject 3, mm. 354-362

g (subject in the piano). Subject 3, mm. 363-370
b i, mm. 370-394
g i. Subject 3, mm. 395-428

The Third Movement: Discussion

The last m ovem ent is distinguished above all others by its fire
and intensity of expression. The exciting finale h a s so m e of M ozart's
m ost enchanting th em es; its p a s sa g e work m akes insistent dem ands
upon th e performer. It begins in the minor m ode but e n d s in D major,
creating a return to the social atm osphere of earlier works. The
sketch of th e beginning of a rondo, first intended for this concerto,
is prefixed to the Offenbach score of the C oncerto in B flat m ajor (K.
450). . . Mozart rightly gave the preference to th e very dissimilar
fiery them e of the p resen t rondo. 16

Section A1 (Exposition)

T he Finale contains chrom atically intensified an d refined

passion and dram a, announced at the very beginning in the rocket­
like principal motive. A startling and aggressive rondo th em e played
by the piano solo opens the third movement. This type of them e
(ascending arpeggio), som etim es called the "Mannheim rocket"
contains two asymm etrical p h rases, 4 + 9 m e a su re s (Figure 12).
 55

[Rondo]
jM L / y u *!■■» _ p — r ’ r M *

Figure 12. 3rd Movement, rondo them e, mm. 1-12.

This m elody b ears a certain similarity to the opening of th e last

m ovem ent in M ozart's G minor symphony (K. 550), as well a s to the
beginning of B eethoven's first piano so n ata in F minor, op. 2, no. 1 .i?
The them e consists of the first p hrase (mm. 1-4) and th e second
parallel p h ra se which re p ea ts th e first p h rase and extends it. The
relationship betw een this rondo them e and th e first subject in the
middle section of th e second m ovem ent is evident, a s show n in
Figure 9. After the opening rondo them e, there is a long orchestral
section b ase d on th e rocket-like motive at the beginning before
moving to the rep eated figure (mm. 30-47) which su g g e sts the
beginning of th e first m ovem ent and which also form s a chrom atic
melodic line (S ee Figure 13).
 56

Figure 13. 3rd M ovement, repeated figure and chrom atic

melodic line, mm. 30-40

A chrom atic ascending line begins at m easu re 30 and instantly

reenters an o th er line on th e top at m easure 32 so that the
progression of parallel sixths results in mm. 33-37. The sa m e
treatm ent is continued, but in opposite direction in mm. 40-47,
linking to th e transition (mm. 51-62) which will a p p e a r later again
right before th e c ad en za and lead to section B1. The first augm ented
sixth chord (Italian) occurs at the very beginning of th e m ovem ent in
m easure 3, and a French augm ented sixth chord also occurs in the
last b eat of m ea su res 27 and 28 to increase harm onic tension.

Section B1

The piano d o es not play again until section B1. T here are three
im portant su b jects in section B1: subject 1 is in mm. 63-73, subject
 57

2 is in mm. 92-97, and subject 3 is in mm. 139-146. As at the

beginning, th e piano solo enters with the first subject in D minor at
m easure 63 (S ee Figure 14), then goes to a half rondo them e and
transition which gradually m odulates to F m ajor in m easu re 85 and
then p ro ceed s to subject 2 immediately in F minor at m easu re 92.

.1 s=Sâ6 .
.............
1 —

t)

-j-r-.- ----- ' t >

1
—W- S.-"tJ

Figure 14. 3rd M ovement, subject 1, mm. 63-73

This su b ject closely resem b les the first piano subject in th e first
m ovem ent (S ee Figure 15).

Allegro assai

Allegro

$
Figure 15. Com parison of subject 1 in 3rd movt. and the first
piano subject in 1st movt.
 58

Generally, no them e from the refrain a p p ears in section B, but

an exception is th e refrain melody (rondo them e) which m akes up the
seco n d half of th e section B's first subject (mm. 73-91 ).i® The
modulation from th e m ajor key to relative minor (m. 92) predicts the
result of the D m ajor ending of this movem ent, and also foreshadow s
th e future of S ch u b ert's harm onic characteristic.

T he piano begins th e seco n d subject first in m. 92, before the

orch estra ta k e s over in m. 98 and repeats th e subject with bravura,
continuing until m easu re 129 (S ee Figure 16).

Figure 16. 3rd Movement, subject 2, mm. 92-97

The particular rhythm (a q u arter note with an eighth note) of subject

2 in mm. 94 and 95 is derived from mm. 25-26 in the first m ovem ent
and will also a p p e a r later in subject 3 (mm. 140-141). The key of F
minor returns to relative m ajor again in m easu re 108, then stay s
until m e asu re 160. A sc a la r sequential pattern of descending thirds
in mm. 111-118 an d 123-129 recalls the opposite pattern in
m easu re 144 of th e first m ovem ent. A rpeggiated diminished
 59

sev en th s ca d en c e in F m ajor before subject 3 in F major (S ee Figure

17) is introduced by the orchestra and repeated by the piano.

Figure 17. 3rd M ovement, subject 3, mm. 139-146

S even m e a su re s of piano bravura ap p ear in mm. 154-160, similar to

mm. 102-105. T hree broken chords by the piano end section B1, and
the last m ea su re hovers on a ferm ata to p repare the listener for the
return of th e rondo them e.

An Italian augm ented sixth chord a p p ears in m easu res 102,

104, and 106 in order to prolong the distance before resolve to the
major tonic chord in m easu re 108. Due to a passing tone, a German
augm ented sixth chord also occurs on the last b eat of m easu re 119.

Section A2

The com plete rondo them e ap p ears again in m easure 167. The
orchestral section, b ase d on the rocket motive with a variation, is
much sh o rter than section AI and m odulates from D minor to A
minor. M easure 186 is a key point to lead the modulation: if in D
minor, this m ea su re is a subm ediant chord; if in A minor, this
 60

m easu re is a N eapolitan sixth chord. The syncopation rhythm by

o rch estra a p p e a rs in m easu re 182 to act in coordination with the
dom inant syncopation in th e first m ovem ent.

Section C fPevelopm entl

T h e principal material in th e Developm ent is derived from

subject 1 of section B1. The com plete subject 1 is p resen ted first by
the piano solo, but the key m odulates to A minor. The half rondo
th em e follows and utilization of th e first th re e m e a su re s of the
rondo th em e develops a s a contrapuntal treatm ent in high and low
registers of th e o rch estra (sam e a s mm. 19-26) with piano bravura
(alternating descen d in g and ascending dim inished broken chords) at
mm. 212-229. A descending chrom atic line is form ed on the b a ss
from G sh arp to D in mm. 212-224. A G erm an augm ented sixth chord
occurs in mm. 222-223 to p repare the modulation of subject 1 in G
minor at m easu re 230. The rhythm played by th e piano in mm. 224-
228 is rem iniscent of th e march-like rhythm in th e first m ovem ent
at m ea su re 108. Subject 1 begins again in piano solo form (mm. 230-
240) with a variation at the end, and the key m odulates to G minor.
The o rch estra tak e s com m and and repeats subject 1 (returning to D
minor) which develops th e following dialogue section with a canonic
device betw een woodwinds (flute, oboe, and bassoon) and piano (mm.
240-262). T h e transition (mm. 262-270), sim ilar to th e one in
section B1 (mm. 83-91), again links to subject 2.
 61

Section B2 (R ecapitulation)

The refrain betw een section C and section B2 is omitted. The

entire Recapitulation is b ased on the tonic, D minor. T here is no
subject 1 which a p p ea rs in the Recapitulation (section B2), b ecau se
if ep iso d e 2 (section C) w as a developm ent including treatm ent of
the first subject of ep iso d e 1 (section B1), that subject is likely to
be ab se n t in episode 3 (section B2).19

The presentation of subject 2 (m. 271) is alm ost the sam e as

the previous one in section B1, but it is in D minor and omits the
extended part in mm. 123-138 (com pared with section B) which
sw itches its a p p e a ra n c e into th e section of subject 3 later in
m easu re 318. The descending scale in parallel thirds (mm. 291, 293)
is more varied in its bravura than the one in section B1.

Subject 3 (m. 302), the sa m e as in section B1, is presented

twice by orch estra and piano, but is in D minor. Subject 3 is
followed by th e p h rase in mm. 318-337 which is derived from the
extended part of subject 2 of section B1 in mm. 123-138, and then
m oves to th e trill cad en ce. T here is a transition (mm. 337-345)
derived from th e transition of section A1 in mm. 51-59 which leads
to th e cad en za. The F sharp in the first beat of m easu res 304 and
312, and the G erm an augm ented sixth chord in m easu res 307 and
315, hint at the ap p e aran ce of D major later in the coda section.
 62

C adenza

A cad en z a by Beethoven is inserted at th e tonic six-four chord

at th e end of th e Recapitulation. The first two m easu res of the
impulsive rocket-like rondo them e opens the cad en za and u s e s a
canonic device until m easu re 10. M easure 4 h as the free, rubato-like
figure which se e m s to hint of Romantic period e x p ressiv en ess. The
com plete rondo them e never ap p ears in the cadenza; only the first
few m easu res of the them e are used. A longer them e in mm. 10-14
contains four m ea su res and rep eats again with different no tes at m.
14 with a variation at th e end lengthened by half-note values. The
extended cad en ce in mm. 17-24 is com posed of th ree chords
rep eated four tim es in various registers. After ascen d in g arpeggios,
the virtuosic trills a p p e a r in m easu re 32 lasting 14 m e a su re s to the
end. As in th e first m ovem ent cadenza, the tem po is changed to "piu
presto" (m. 36) at the end.

Section A3

After the cad en za, only the rondo them e with a varied ending is
played by th e piano, leading to the coda. This is only an abbreviated
re fra in .

Coda

After th e first tutti of the final rondo th e tru m p ets are very
sparingly u sed , to en h an ce the effect of the delicious quiet tw o-bar
 63

phrase, at last In th e m ajor key, with which they help se a l the

closing m o m en ts .20

The entire coda is in D major and b ased on subject 3. Subject 3

ap p ears twice, first by o rch estra and then by piano. A six-m easure
p h rase recalls a p a s s a g e in th e first tutti in mm. 30-50 over sim ple
harm ony played by th e o rch estra (mm. 370-375), and an o th er six-
m easure p h rase with th e d ecorated broken chord played by the piano
(mm. 376-381) is re p eated before the motive of subject 3 a p p ears
again, with a varied ending, in th e orchestra at m easu re 395. New
material with rep eated n o tes is played by trum pets and horns in
m easu res 401 and 409, and leads to the magnificent ending. The
m ovem ent en d s in a mood prophetic of the final sex tet in D on
Giovanni . D e s p i t e th e p resen ce of trum pets and drum s, the last

m easu res of the piano part are not exuberant; it se e m s to end in mid
air, on an unresolved chord. A G erm an augm ented sixth chord, a s
before, ap p ea rs in subject 3 at m easu res 360 and 368.

Actually, Mozart seldom en te rs th e relative m ajor key, a s here,

at the end of th e last m ovem ent in a minor key. Except for this D
minor concerto, it occurs also in D minor piano fan tasia (K. 397), C
minor seren ad e, and B minor adagio for piano (the m ajor tak es place
only in th e last two m e a s u re s ).2 2

Blom explains this D m ajor ending a s follows:

Mozart rem em bered this w as a concerto, a piece m eant to

entertain, and feeling th at he had done enough to startle
his polite h ea rers with his m ost im passioned m usic, he
 64

relieved them at th e end and let them go away emotionally

relaxed, a s he w as to do a little later with an opera in D
minor Don Giovanni that also has a cheerful coda in D
m ajo r. 2 3
 65

REFERENCES

I . 0 . M. Girdiestone, Mozart's Piano Concertos (London: C assell,

1978), p. 308.

2. u n Kraus, "Marriage to Mozart," Music Journai Vol. 24, No. 10

(Dec., 1966), p. 24.

3. Girdiestone, op. cit., p. 309.

4. ibid., p. 313.

5. Charles Rosen, The Ciassicai Styie: Haydn, Mozart, Beethoven

(New York: The Viking P ress, 1971), p. I94n.

6. ibid., p. 232.

7. Girdiestone, op. cit., p. 315.

8. ibid., p. 316.

9. Richard Kramer, "Cadenza C ontra Text: Mozart in B eethoven’s

Hands", Nineteenth Century Music, Vol. 15, No. 2 (Fall, 1991), p.
129.

10. Alfred Einstein, Mozart: His Character and His Work (London:
Oxford University P ress, 1945), p. 307.

I I . H. C. Robbins Landon, The Mozart Companion (New York: W. W.

Norton & Company, Inc., 1969), p. 270.

12. Girdiestone, op. cit., p. 320.

13. ibid., p. 320n.

14. Landon, op. cit., p. 261.

15. Douglass M. Green, Form in Tonal Music (New York: Holt, Rinehart
and Winston, Inc., 1965), p. 242.
 66

16. Otto Jah n , Translated by Pauline D. Tow nsend, Life of M o za rt,

(London: Novello, Ewer & CO., 1891), Vol. 2, p. 476.

17. Abraham Veinus, Victor Book of Concertos (New York: Simon and
S chuster, 1948), p. 270.

18. Green, op. cit., p. 242.

19. Ibid., p. 243.

20. Ivor Keys, Mozart: his Music in his Life (London: G ranada
Publishing, 1980), p. 172.

21. Philip Radcliffe, Mozart Piano Concertos (Seattle: University of

W ashington P ress, 1978), p. 50.

22. Girdiestone, op. cit., p. 327n.

23. Veinus, op. cit., p. 271.

 CHAPTER III
PERFORMANCE AND INTERPRETATION

The First M ovement

Tem po is a vital elem ent to enable perform ers to play
successfully. An Improper tem po will often result In a poor
perform ance, even losing the com poser's original Intention. A good
tem po for this movem ent Is M.M. J =138. The piano solo enters In
m easu re 77 and sings th e first piano them e until m easure 87.
B ec au se th e th em e Is so lyrical, graceful, and recltatlve-llke
(especially no orchestra joins here) and It s e e m s to be Improvising,
one may play a little slower (M.M. J =126) than the beginning tem po
and return to the original tem po at m easure 91, a s su g g ested by
B a d u ra -S k o d a .i P erh ap s It Is better to sa y freer tem po than slower
tem po, a s In th e C lassic period, music w as usually perform ed In
stead y tem po, unlike the Romantic period In which com posers might
change tem po often In one movement.
In order to play the them e (m. 77) beautifully, be careful that
th ere Is no accen t on every first beat. Project the them e a s a four-
m easu re p h rase rather than two tw o-m easure p h rases. The right
hand melody m ust be played expressively, while th e left hand chords
are played In steady tem po (See Figure 18).

67
 68

Figure 18. 1st M ovement, 1st piano subject, mm. 77-84

Be su re that the four-chord group, for the left hand, is played with a
d ecrescen d o , with focus on the first chord. T he sixteenth notes in
m easu re 85 should not be played too fast. T he ornam entation in
m easu re 87 should be played as equal eighth n o tes (S ee Figure 19).

Itei

Figure 19. 1st M ovement, ornam entation in m. 87

Play th e succeeding sixteenth notes in m easu re 88 a s a melody

in stead of virtuostic display and play the left h an d q u arter notes
d etached. Most of M ozart's quarter notes in th e b a ss should be played
sh o rter than their practical length in order to imitate th e sound of
 69

the eig h teen th century piano. To m ake the sound clearer, play the
first and ninth sixteenth n o te s staccato in m e a su re s 88 and 89 (S ee
Figure 20).

Figure 20. 1st M ovement, perform ance in mm. 88-89

The left hand doubles the b a s s line of the orchestra in m easure 95,
thus it is not n ecessary to em p h asize the left hand. T he p assag e
from m e a s u re 99 onward is difficult for m ost perform ers. Badura-
Skoda recom m ends th e fingering for this p a s sa g e a s f o llo w s : ^ (See

Figure 21a).

9 4 1 •» a. t 4 3 th

(a) 1st Movement, fingering by B adura-Skoda, mm. 99-102

 70

(b) 1st Movement, alternate fingering, mm. 99-102

Figure 21. 1st Movement, fingering in mm. 99-102

I preferred to u se the right-hand third finger to play every first note

of the b eat (except th e third and fourth beats of m e a su re s 100 and
102), b e c a u s e th e third finger is stronger than th e fourth finger.
Play th e phrasing a s marked (S ee Figure 21b). The left hand rolling
octave in mm. 108-111 should be played with a relaxed wrist,
otherw ise th e hand will be too tired to play.

According to Hinson, “. . .when performing Mozart . . . runs

should be played non-legato or staccato; legato playing of p a ssa g e s
that are not explicitly slurred is incorrect."^ However, this rule is
not suitable in all of Mozart's com positions. For exam ple, in mm. 99-
107 of th e first m ovem ent, th e p a s sa g e could not be played non-
legato or staccato b ec au se the tem po here is rapid a n d the running
sixteenth n o te s are constant for nine m easures. If th e p a s sa g e is
played non-legato, th e hands will becom e ten se, allowing no sp ace
for relaxation. Additionally, to c re a te the phrasing a n d to project
 71

the so u n d beautifully Instead of m echanically, one should deal with

the m elodic contour, formed by the first note of every four running
sixteenth n o tes in this phrase (mm. 99-107), a s in a lyrical melody.
The s a m e situation occurs in mm. 102-109 of th e third movement.
Due to th e functional harmonic effect and musical structure, it is
sp o n tan e o u s to produce a sustained acceleration in mm. 99-107, but
be su re to control th e accelerando.

Q uestion and answ er phrases a p p e a r three tim es in mm. 115-

120. E ach tim e one should play with d ecrescen d o and add more tone.
Lift th e right hand just before the two sixteenth notes in the third
beat of m e a su re s 121 and 122 in order to m ake it very clear. Play
the first two notes of the second piano th em e in m easure 127 with
tenuto in stead of staccato and do not hurry on the grace note. Play
the first n o te of th e sc ale s in m easu res 137 and 141 with staccato
to create a m ore sparkling tone. Be su re that there is no break
betw een th e first and second notes in m easu re 143 (S ee Figure 22)

F igure 22. 1st Movement, phrasing in mm. 141-144

 72

It is b etter to play decrescendo on m easure 144 and 146, and make

th e left hand softer than the right hand. D epress the dam per pedal at
m ea su re 150 to avoid too dry a sound. W hen playing the right hand
rolling octave in m easu re 153, focus on th e thumb, keeping the hand
clo se to th e keys, and allow the thumb to reach easily from the
white key to th e black key. Play the broken chords in m easu res 156
and 157 evenly and feel a little crescendo on each ascending broken
chord. H ear th e b ass notes and the top notes clearly (S ee Figure 23).

Figure 23. 1st Movement, interpretation in mm. 156-157

The dynam ic co n trast which Mozart m arked f and p in mrn. 162-163

should b e clear, but not overdone. In the classical period, the
dynam ic ch an g e is not th e sam e as in th e twentieth century. Perhaps
here play f only for th e left hand. Bring out the hidden melody in
m e a su re s 165 and 166 (S ee Figure 24).
 73

Figure 24. 1st Movement, perform ance in mm. 165-166

From m easu re 168, played by both hands, the left hand p a ssag e
should be softer than the right hand articulation to avoid blurring.
D epress the dam per pedal during the last three b eats of m easure 172
a s in m easu re 150. Use thumb and the third finger on the long trill in
m easure 173 from the upper note A to the principal note G, rather
than th e w eaker second and the third fingers.

The ornam entation for the first piano them e in the

D evelopm ent should be played lightly and not too fast. Play the grace
notes a s part of th e melody. This them e ap p ears continuously three
tim es from m easu re 192 to 227, but in different keys: F, G minor,
and Eb. Play the them e differently each time. For exam ple, during the
second time in m easure 206, in the minor mode, one might play
softer and u se a different timbre. Do not accent the second note of
the right hand in m easure 212. Keep the sam e sound - D from the
 74

previous m easu re and h e ar the top melody- D, C#, C natural, and B

(S ee Figure 25).

Figure 25. 1st Movement, perform ance in mm. 211-213

Make a d ecrescen d o at m easure 215 to connect th e orchestral phrase

m arked by soft dynam ics. Be sure that the right-hand seco n d note is
le ss than th e first note at m easu re 223 and take tim e betw een C and
F (S ee Figure 26).

Figure 26. 1st M ovement, perform ance in mm. 222-223

Give m ore tone in m easure 226 b ecau se the p h rase begins here. Pay
attention to th e thum b w hen playing a series of arp eg g io s from
m easu re 230 onward (S ee Figure 27).
 75

Figure 27. 1st M ovement, perform ance in mm. 230-231

Do not rush on the third and the fourth beats, especially in m easu res
233, 237, and 241. It is e a sy to rush on the last one or two b eats
when playing this type of p assag e. The sam e thing also h ap p en s in
the Waltz rhythm, a s se e n in Chopin’s Waltz, Op. 69, No. 2 (S ee Figure
28).

f $

to. $ 9Ü&. *

Figure 28. Chopin's Waltz, Op. 69, No. 2 (mm. 1-6).

Since th e rhythm alw ays g o es from the third b eat to th e following

first beat, be su re that th e third b eat is long enough without being
 76

rushed. Play th e sca le s with decrescendo In m easu res 243 and 245,
and play th e last note with the fifth finger in order to reach the
following chord easily (S ee Figure 29).

\m

Figure 29. 1st M ovement, interpretation in mm. 243-246

Use the dam per pedal again on the second beat in m easure 247. Add a
little a ccen t on th e right-hand second note in m easu re 250,
otherw ise it is difficult to h e a r clearly. T he contrast of dynam ics in
m e asu res 252 and 253 should not be overdone. The forte h as already
increased by th e octave in the left hand. To m ake this unit p h ra se in
m easu re 252 m ore colorful, bring out the b a s s the first tim e, then
the top during th e seco n d time or the opposite (S ee Figure 30).
 77

Figure 30, 1st M ovement, perform ance In mm. 252-253

The piano starts playing th e b a s s figures only at m easu re 261. All

editions show this version, but M ozart's intentions, according to the
m anuscript, are absolutely clear. The piano is also su p p o sed to
double the celli from m easu re 254 onward, and th e piano also has to
play in m m .112-114 and 285-287.4 However, according to
G irdiestone, it is appropriate for the piano to join th e o rch estra to
sustain or sim ulate it in th e main subject in mm. 95-104 and 261-
267.5 I prefer th e latter opinion b ec a u se the piano never plays only
the triplet figure in th e b a s s without any bravura or decoration on
th e top. It also so u n d s m ore convincing, enriching the color and tone
quality. T here should be th re e dynamic layers from mp, mf, to f for
th e three p resen tatio n s of th e tw o-m easure s e q u e n c e from m easure
261 to 268. T he sixteenth notes in m easu res 267 and 268 should
sound like a melody. T he triplet in mm. 278-280 should be played
 78

non-legato, using le ss pedal. Fingering follows for th e sextuplets in

m easu re 316, P eters edition: (S ee Figure 31a).

1.1is:

(a) 1st Movement, P eters edition fingering, m. 316

.) 3 1—2 ^

(b) 1st Movement, alternate fingering, m. 316

Figure 31. 1st Movement, fingering, m. 316

I preferred to u se th e seco n d finger on the black keys instead of the

third finger, making th e p a ssa g e easier and faste r (S ee Figure 31b).
The eighth notes in m easu re 323 onward should be short (staccato).
In th e International edition, the slur is su g g ested (S ee Figure 32).

Figure 32. 1st Movement, interpretation in mm. 323-326

 79

Use pedal again on the second beat at m easu res 327 and 328. Play
the left hand s c a le s from mm. 344-347 mezzo forte, and perform the
chrom atic sca le at m easu re 350 stronger only by th e right hand.

The cad en za by Beethoven is not M ozartean, a s shown by (1) its

modulation to a distant key (B major) in m easu re 14, (2) m artellato
repeated notes from m easu re 14 onward, (3) the u se of se q u e n c e s
mm. 27-32 and th e b a ss motive continuing alm ost to th e end of the
cad en za, and (4) th e triplet accom panying the piano's main them e in
m easu re 42 and the ending which is pure B eethoven's writing.6 (See
Figure 33)

Figure 33. 1st Movement, cadenza by B eethoven, m artellato

rep eated n otes, mm. 14-17

Therefore, to play this c ad en za in the Beethoven style is more

convincing th an playing in th e Mozartian style of purity and clarity.
The beginning trills are very loud. The first and the last chords in
m easu res 5 and 7 can be played by the left hand (Figure 34) in order
to reach th e distant register easily without any break.
 80

Figure 34. 1st Movement, cad en za by Beethoven, mm. 4-7

The first th em e motive for the left hand should be played precisely
and energetically. In other words, be su re the quarter note Is short,
a s In m ea su re s 1, 8, and 14. In m easure 17, the first two b eats are
ending for th e previous phrase; the last two b eats begin the next
p h rase. O ne m ay push a little bit forward on the right-hand four
chords In m ea su res 20 and 21, then slightly slow er In m easure 24.
There are th ree se q u e n c e s from m easure 27 onward. Each occurrence
should be m ore Intense, keeping the Intensity until reaching the
piano's first th em e at m easu re 42. There should be no slowing down
during this part. T here Is a special lasting pedal from m easure 31 up
to th e seco n d b eat of m easu re 34 (S ee Figure 35).
 81

Figure 35. 1st M ovement, cadenza, pedalling in mm. 31-34

In th e "piu presto" section, the following fingering for th e sca le is

recom m ended (S ee Figure 36).

Pill prcalo4 _ 4 ; . _
4-

41

^11 1

^4 /.i'4- '4 / 4

Fiduro S6i le t Movamonti oadensa, fingering in mm. 50-53

 82

Start this long sca le with forte until m easu re 54, which may
d ecrescen d o . U se full pedal at m easure 55. Use a little accent only
on th e single B which Is played by both thum bs sim ultaneously In the
last note of m. 55 and th e first beat of mm. 56-58, then return to
soft dynam ics Imm ediately (S ee Figure 37).

Figure 37. 1st M ovement, cad en za. Interpretation, mm. 55-58

Make the sev en th chord In m easure 58 a surprise by playing short

with an accen t. This playing approach d escribes the very character
of B eethoven. U se long pedal again for th e ending at m easu res 62-65.

The Second Movement

The tem po for this m ovem ent Is approxim ately M.M. J = 80-84.
However, th e te s t of th e right tem po Is w hether one can m ake the
transition to th e storm y middle section without any noticeable
acceleration.7 B ecau se th e time signature Is 2/2, think In two while
you play In o rder to m aintain the beautiful, fluent them e. Be careful
 83

not to destroy its calm n ess and intimacy. B adura-Skoda su g g ests

playing with ex p ressiv e marking a s follows:^ (S ee Figure 38a).

. ;..Hf f / f- 1,
J

x)lcc3qi*'>‘a T n « r n t * ( ^ t i l t . lO 'll)

(a) 2nd M ovement, B adura-Skoda interpretation of rondo them e

(b) 2nd M ovement, alternate interpretation of rondo them e

Figure 38. 2nd M ovement, interpretation of rondo them e, mm.

1 -4

I preferred an o th er interpretation, shown in Figure 38b. However, if

we follow th e ex p ressiv e marking in Figure 38a, it is e a s y to play
too much crescen d o and d ecrescendo and it se e m s that the right hand
G, first b e at of th e seco n d m easure, is the loudest note in this
p h rase. T he ex p ressiv e marking is apparently written for th e left
hand part. Should it be played by th e left hand or right hand?
 84

Actually, I feel th at to m ake this p h rase beautiful, th ere should be

no accen t at all, without crescendo or decrescendo. Let the phrase
becom e one long line. Therefore, th e first note of th e second
m easure should be th e sam e dynamic level a s the last note of the
first m easure. The phrasing by Badura-Skoda in m easu res 1-2 and 4
is a good suggestion (se e th e deceptive lines in the Figure 38a),
however, except th e expression mark (crescendo) for th e last three
notes in m easu re 4 which th e phrasing should go over to the
following note at the next m easu re 5. I prefer to play this with a
subtle decrescendo, a s betw een m easu res 1 and 2, to m ake the
following note (F) in m easu re 5 sound the sam e a s the previous note
(E natural) at m easu re 4 without the influence of the bar-line. (S ee
Figure 38b). If played with a crescendo, the following note is easy to
play too loudly, and it will destroy the sm ooth beauty of th e melodic
line rather than produce an overall phrase. As with the first piano
them e in the first m ovem ent, the right-hand melody of th e beginning
them e in the seco n d m ovem ent n eed s to sing freely, but the left hand
keeps stead y rhythm a s the b a ss repeats four tim es. T he fingering
for the left hand I u sed here is rather special. It is different from
the P eters edition (S ee Figure 38b). This special fingering m akes the
hands relax and e a s ie r to o p erate b ecau se the fifth finger is e asier
to control than th e fourth finger. The right hand fingering should
also start with th e third finger. Concerning touch, the han d s should
be close to th e keys slowly d e p re sse d with m ore finger su rface in
order to produce a "warmer" tone and "singing" sound.
 85

There are two w ays to play the ornam entation in m easure 4, as

shown in Figures 39a and 39b.

(a) 2nd Movement, ornam entation in m. 4

(b) 2nd M ovement, alternate ornam entation in m. 4

Figure 39. 2nd Movement, ornam entation in m. 4

Most pianists now like to perform the version show n in Figure 39b.9
The perform er m ay play staccato on the eighth notes in m easu re 3 to
produce th e sa m e articulation a s the orchestra in m easu re 11, a s
M ozart's notation m akes a clear distinction betw een stac cato and
n o n -staccato (S ee Figure 40).

ercsc.

Figure 40. 2nd M ovement, staccato vs. non-staccato, m m .11-12

 86

The last th re e n o tes with th e ornam entation in m easu re 8 should be

played sta c c atissim o . Lift th e hand slightly just before th e triplet
in m easu re 17 to m ake th e triplet clear and even. T he following
exam ple d em o n strates how I performed the p h rase (S ee Figure 41).

Figure 41. 2nd M ovement, interpretation in mm. 17-20

Focus on the first note of the b a ss in each m easure. T he phrasing in

each m easu re should be from the last three notes of th e preceding
m easu re with a slight d ecrescen d o . Since there are four seq u en ces,
it is interesting to m ake different the last s e q u e n c e at m easu re 19,
projecting cresce n d o instead of decrescendo. T he turn in m easure 22
should be played a s follows; (S ee Figure 42).

Figure 42. 2nd M ovement, perform ance of th e turn, m. 22

T he section from m easu re 40 should focus on the melody which

is accom panied only with a very simple b a ss line, alm ost one note
 87

p er m easu re. Mozart seldom em ploys this kind of writing, but this
exam ple d em o n strates th at the piano is the b est instrum ent to play
a lyrical m elody and project over other instrum ents. Singing tone
quality is required, of co u rse. Be careful not to play too heavily on
the turn at m easu re 40. S e e Figure 43 for B adura-Skoda's
recom m endation for playing th e ornam ent in m easu re 40.

played in some
.such way:

TV
Tka,.

Figure 43. 2nd Movement, ornam entation, m. 40

This kind of playing not only gives the melody m ore resonance, but
also lets th e o rch estra e n ter easily.^o D epress the dam per pedal on
the third b e at of m easu re 45 until the second b eat of m easure 46 to
cre ate full sonority (S ee Figure 44).

Figure 44. 2nd M ovement, pedalling in mm. 45-46

 88

To project th e sound better, u se pedal, but play every q u arter note

sep arately in m e a su re s 49 and 50, even with the sa m e fingering on
each note (S ee Figure 45).

0r

Figure 45. 2nd M ovement, suggested fingering, mm. 49-50

It s e e m s that one should d ecrescendo for each tw o-m easure p hrase

(mm. 52-55), but I found that by playing in the opposite m anner,
using crescen d o in each tw o-m easure phrase, the piano part linked
into th e o rch estra much better (S ee Figure 46).

Figure 46. 2nd Movement, use of crescendos, mm. 52-55

O ne should play softer in th e second phrase at m easu re 54, louder

and confident in succeeding m easure 56. Play th e triplet in m easure
 89

59 with non-legato and link to following m easure. Here the p a ssa g e

is cadenza-like and freer in tem po at m easure 67.

T he tem po for the middle section from m easure 84 can be

faster than th e beginning, approximately M.M. J = 92. Although there
is no tem po marking change, the figure of the triplets leads the
music forward. All triplets in the middle section should be even and
clear, without rushing th e last triplet in each m easure. Play the
eighth note non-legato with the left hand. Play the treble clef with
left hand in m easu re 92 to easily reach A by the right hand. In the
P eters edition, th e recom m ended fingering for the right-hand D at
m easu re 95 is th e fourth finger. If one u se s the fifth finger instead
of the fourth, the hand should feel more comfortable and not tire as
easily. As m entioned before, the fourth finger is not ea sy to control,
especially during extended use, causing it to lose its flexibility and
dexterity (S ee Figure 47).

'T3 3 __________________________
S' S S' S
1 3 2 4

Figure 47. 2nd Movement, suggested fingering for m. 95

B ecause th e first b eat sounds only in the orchestra in mm. 108-110,

be su re th at the last two notes of the right hand are clear and not
 90

rushed in order to link easily into the first beat of th e orchestra

without losing rhythm. It slow s naturally (mm. 111-118) a s the note
values gradually in crea se, a s sextuplet-sixteenth notes becom e
triplet-eighth n o tes. T hus, do not try to slow down again until the
last four eighth notes in m easure 118, which leads back again to the
main them e. Play th e sixteenth notes with non-legato from m easure
142. Here the piano is an accom panim ent; the real melody is in the
orchestra. It is surprising when the fz chord ap p ears in m easure
152. Play this m easu re with freer tem po, but not too much;
otherw ise it is difficult for th e o rchestra to wait that long. T here is
no real melody in mm. 154-157, either for the piano or orchestra.
Therefore, play the slur like a melody (S ee Figure 48).

Figure 48. 2nd M ovement, interpreting the slur, mm. 154-157

There is no ritard at the ending, but use full pedal at m easure 161 in
order to avoid losing the syncopation and projecting a “dry” sound.

The opening th em e of the Rom anza occurs a total of 14 times.

There is no reaso n to play th e sam e them e 14 tim es without any
variation. B ec a u se Mozart finished this concerto just before the
 91

perform ance, it Is ea sy to understand why he might not have had

tim e to write out all variations of the them e. It is quite possible
th at h e im provised the variations during his perform ance. S e e Figure
49 to com pare th e original version of m easure 31 to m easu re 141 ;11

I:-:' ' ' S

m . 141 ^

Figure 49. 2nd Movement, comparison of mm. 31 and 141

T hus, proper stylistic ornam entation is expected in this m ovem ent.

O ne m ay add em bellishm ents in M ozart's style at the rep eated them e.
Figure 50 contains an exam ple of th e them e variation by Badura-
S ko d a:i2
 92

liar 1:1:1

iir:

J J
or:

Figure 50. 2nd Movement, variation on th e them e by Badura-

Skoda

G irdlestone also provides an exam ple (S ee Figure 51) to embellish

o rnam ents in m e a su re s 44-55 a s f o l l o w s : ''^

Figure 51. 2nd Movement, adding of ornam entation, mm. 44-55

 93

The Third M ovement

T he tem po for this m ovem ent is not too fast, approxim ately
M.M. J = 126-132. T he su g g ested fingering for this beginning them e
from th e P e te rs edition is shown in Figure 52a:

[Rondo]
[Presto] , 4 3 1

(a) 3rd M ovement, P eters edition, fingering in m. 1

(b) 3rd M ovement, alternate fingering in m. 1

Figure 52. 3rd Movement, fingering in m. 1
 94

However, I found th at by beginning on th e first and the second

fingers in stead of th e seco n d and the fourth fingers (Figure 52b), the
hand can move fa ste r and the tem po can be reached faster and
easier, since th e d istan ce from the second finger on th e second note
to th e first finger on th e third note is n e a re r than th e fourth finger
to th e first finger.

T he beginning rocket-like motive should be played non-legato

with d e cresc e n d o , rather than crescendo. Be careful not to rush the
two eighth n o tes in m easu res 2, 6, 8, and 11. The octave leap of the
melody in m e a su re s 8 and 11 should be em phasized, placing more
focus on D which is played by the thumb (S e e Figure 53).

77 -O-

Figure 53. 3rd M ovement, perform ance, mm. 8-11

Perform th e th re e left hand chords (mm. 63-66) with

d ecrescen d o th e first time, changing to c rescen d o for the second
 95

time in order to b etter connect with following m e a su re (S ee Figure

54).

3 1 _____
------------------

Figure 54. 3rd M ovement, dynamic contrasts, mm. 63-66

Lift th e hand right before th e triplet in m easure 65 to produce a

clear sound. The noticeable characteristic in mm. 70-71 is created
by th e two short ornam ental notes which e n h an ce the dram atic
effect, but still m ust b e played with a pleasing to n e quality.
(Actually, the first ornam ental note appears at m easu re 64.) Change
color to achieve contrast of singing tone from m easu re 79, and be
aw are of the drum rhythm by the left hand in m easu re 92 (S ee Figure
55).
 96

[g â j

Figure 55. 3rd Movement, drum rhythm, mm. 92-97

Accent th e first q u arter note for the drum rhythm each time (in
m easure 96, th e first quarter note is on th e seco n d beat). All q u arter
notes should be sh o rt in m easu res 123, 125, and 127 to imitate the
articulation by th e o rch estra. Play softer in m easu re 134, then
loudly on th e trill at m easu re 137. According to Badura-Skoda, th ere
is a slur over th e flute's four eighth notes in m easu re 142 which
should be played a s follows: (S ee Figure 56)

should
be
played

Figure 56. 3rd Movement, slurred eighth notes, m.142

This also occurs in th e oboe part at m easu re 358 and for the piano at
m easure 366. T hus, th e se slurs should also occur in m easures 150,
305, and 313, an d p erh ap s also m easures 398 and 406.14 The first
 97

half of th e “happy” them e in m easu res 147-150 a sc e n d s three tim es

and should be played in three layers, each time a little bit more than
others (S e e Figure 57).

-A-

Figure 57. 3rd Movement, three iayers, mm. 147-150

Play th e left hand non-legato at the Alberti b a s s in m easure 147. My

recom m ended fingering for this melody for th e right hand are the
fifth an d se c o n d fingers, rather than the fourth and first fingers
su g g e ste d by Edwin Fischer in the Peters edition. I also used the
left h an d fifth finger in the b a ss rather than th e fourth finger. The
first full m easu re of th e main them e does not have a slur on the
notes D- C#- D until m easure 181, where suddenly a slur ap p ears in
all th e string parts (S ee Figure 58).
 98

Figure 58. 3rd Movement, slurred string parts, m. 181

The reaso n for this phrasing can be understood if we s e e how this

m easu re is continued in each case. The sequential treatm ent of the
them e at the opening of the m ovem ent relies on the fact that the
first full m e a su re is played forcefully and aggressively, “ham m ering
out” th e notes. On th e other hand, the strings have syncopations and
the winds su stain chords in m easure 182. T here is no hammering to
be heard anyw here. 15

Play louder and em phasize in m easu res 238 and 239 than in the
previous p h rase, since the ending (mm. 238-239) is different from
the original them e in mm. 63-73. Here occurs an important
conversational section betw een the woodwinds and the piano from
m easu re 240. Project a long phrase and gradually create th e climax
to the end of this section. Be sure to play with pedal in m easu res
291 and 293 b e c a u se of the big leap in the melody. To em phasize its
unique m om entum , play the melody by the right hand alone in
m easu re 333; do not u se two hands here. 16 Think of th e phrase
extending from th e bottom to the top (S ee Figure 59).
 99

't l i

4
Figure 59. 3rd Movement, extending phrase, mm. 333-334

Mozart did not leave a cad en za for this concerto. B eethoven’s

ca d e n z a for this m ovem ent is not a s good a s that in th e first
m ovem ent, but it still k eep s th e dram atic spirit of th e piece. Be
aw are of th e contrapuntal writing which u s e s the motive of the first
them e and be su re to h ear each rocket-like entrance clearly. The
th ree notes In m easu re 14 can be played by the left hand (S ee Figure
60).

Figure 60. 3rd Movement, cad en za by Beethoven, m. 14

Be su re to em phasize th e contrast of piano and forte betw een mm.

25-30. U se of the dam per pedal Is very Important for this cadenza.
 100

To make a so n o ro u s sound, use a tw o-m easure long pedal at mm. 22-

23 and 31-32, a th re e-m ea su re long pedal at mm. 37-39, and a six-
m easu re long pedal at mm. 40-45. Use the third and fifth fingers for
the trill in m ea su re 41 on E and F, and the thumb on C# by the right
hand (S ee Figure 61).

Figure 61. 3rd Movement, cadenza, mm. 41-46

The rest just before th e m ajor section in m easure 353 should be

long, even longer than a ferm ata. Badura-Skoda explains the reason
a s follows:

We are firmly convinced that in m easure 354 there should

be a long 'general p au se'. Mozart did not write a ferm ata
over th e rest, p erh ap s b e cau se, according to contem porary
practice, this would have implied that a lead-in w as to be
played. But it is quite out of the question to plunge straight
into th e D m ajor co d a after thus breaking off th e them e on
a dim inished sev en th chord, which at this point h a s all the
shattering effect of a natural cataclysm . A long silence is
absolutely n e c e s sa ry here, an 'eloquent' silence, during
which th e pendulum can swing from minor to m ajor - the
turning-point before th e final ap o th eo sis. 17
 101

The piano a ssu m e s an accom panying position from m easure

376 to th e end. For a dram atic finaie, the perform er can add the iast
two chords and piay sim ultaneousiy with th e orchestra.

interpretation by F am ous P ianists

W aiter G ieseking ex ecu tes appoggiaturas on the beat and

accen ts triiis, starting them from th e principal note (as do Edwin
Fischer, Schnabei, Kempff, Annie Fischer, Micheiangeli, and
Solomon). In his recording (with th e Phiiharmonia, conducted by
Rosbaud and Karajan, E.M.i. R eferences CHS 763709 2), he piays the
opening th em es of th e R om anza with a singing melody, keeping the
accom panim ent pianissimo, and b ecau se no tem po change is
prescribed, G ieseking m aintains the sam e tem po for the middle
section, em phasizing its nobility and clarity m ore than its storm and
stress. However, Fischer, Schnabei, and others increase th e tem po in
this section; P erah ia ev en sta rts th e m ovem ent siightiy fa ste r than
usuai so he won't have to sp eed up the middie section.

in Artur S chnabei's recording (E.M.i. R eferences CHS 7 63703

2), he brings out th e soprano and keeps the alto parts pianissim o in
the opening them e of th e Rom anza, as do es Gieseking. N evertheless,
preferring m eiodic b eau ty to slavish imitation of th e woodwinds'
iater articuiation, he d o es not play the tenor eighth n o tes stac cato
in m easure 3 of th e seco n d movement. Both ways (legato and
staccato) for m easu re 3 by the left hand are fascinating, but i prefer
not to piay staccato since no expiicit mark is indicated on the score.
 102

It is p o ssib le th at Mozart w anted dissim ilar articulations betw een

the piano and orchestra. Furthermore, since m easure 3 is contained
in the melody, playing legato may enable the phrasing to be more
com plete an d th e melody m ore beautiful rather than fragm ented.

In A ndras Schiff's recording (London 430 510-2) with S andor

Vegh and th e C am erata Academ ica des M ozarteums Salzburg,
following th e m odern fashion, he starts ornam ents on th e note
above, places appoggiaturas on the beat, and em ploys considerable
staccato and a leggiero touch. He plays Beethoven cad en za in the
first m ovem ent and plays his own cad en za in the last m ovem ent
which qu o tes verbatim th e opening of B eethoven's "Tempest" so n ata
in D minor, op. 31, no. 2. This is consistent with G irdlestone's
o p in io n .18

Daniel Barenboim h as produced a se t of all 27 Mozart

concertos, recorded in 1967-74, but now rem astered and reissued
handsom ely boxed (10 discs, E.M.I. CZS 7 622825 2), with his own
conducting of th e English C ham ber O rchestra. His piano technique is
even and accu rate, but his musical expression delivers the m ost
affective featu re on Mozart. He begins trills on the upper note and
usually ex ecu tes appoggiaturas before the beat. He su b d u es
accom panim ents beautifully and frequently starts a p h rase full, then
dim inishes to pianissim o. 19 This phrasing device is very suitable
for th e singing quality of Mozart's them es and m elodies, and it can
 10 3

be effectively and perfectly em ployed for th e first piano subject of

the first m ovem ent and th e rondo them e of the Rom anza.
 10 4

REFERENCES

1. Eva and Paul B adura-Skoda, Interpreting Mozart on the Keyboard

(New York: St. Martin's P ress, 1962), p. 245.

2. Ibid., p. 246.

3. Maurice Hinson, Music for Piano and Orchestra (Bloomington:

Indiana University P ress, 1981), p. 200.

4. B adura-Skoda, op. cit., p. 199.

5. 0 . M. Girdlestone, Mozart's Piano Concertos (London: Cassell,

1978), p. 319

6. B adura-S koda, op. cit., pp. 247-248.

7. ibid., p. 37.

8. ibid., p. 248.

9. ibid., p. 106.

10. ibid., p. 87.

11. ibid., p. 191.

12. ibid., p. 192.

13. G irdlestone, op. cit., p. 317.

14. B adura-Skoda, op. cit., p. 57.

15. ibid., pp. 57-58.

16. ibid., p. 254.

17. ibid., p. 255.

18. G irdlestone, op., cit., p. 313.

 105

19. D ean Elder, "Commemorating Mozart's 27," Clavier, Vol. 30, No.
10 (Dec., 1991), pp. 33-37.
 CHAPTER IV

EDITIONS, CADENZAS, AND RECORDINGS

E d itio n s
An edition can strongly influence th e perform er's first
interpretational perception. O ne may often be m isled to imitate non-
stylistic phrasing and expression m arks ad d ed by th e editor,
creating a version which m ay differ widely from the original score.
Therefore, sev eral editions should be carefully studied and com pared
in order to sele ct th e m ost authoritative one.
S om e editions contain m any m istakes or incorrect notation.
For exam ple, in th e International edition the following errors were
found:
1. First m ovem ent:
a. No f mark is printed on m easure 253
b. Slur marks are added for the piano in mm. 323-326.
2. Second movement:
a. T he rep eat signature is m issing betw een mm. 92-107
b. At m easure 161 the rhythm should be syncopated
rather th an regular rhythm.
3. Third movem ent:
a. The first beat of mm. 64 and 66 should be a
quarter note instead of a half note
106
 107

b. All slurs of subject 3 are m arked in the sa m e way

(unlike th e differences in th e autograph
m an u sc rip t).

T h ere a re so m e essen tial editions for M ozart's com plete

works. T he m ost com plete and m ost valuable for the order of
M ozart's works w as m ade by Ludwig Ritter von Kochel who published
his Chronologisch-thematisches Verzeichniss (the g reat them atic

catalogue) in 1862. In its sixth edition, edited in 1964 by Franz

Giegling, A lexander W eimann, and Gerd Sievers, the Verzeichniss
lists all known works of Mozart, a s well a s the doubtful ones,
to g eth er with them atic indexes and other valuable bibliographical
information. M ozart's works are referred to by the letters "K." or
"K.V.", in stead of by opus num bers. Kochel established the first
com prehensive canon of Mozart's music and num bered the
com positions in chronological order from K.1, a minuet for piano of
1762, to K. 626, the Requiem M ass of 1791. As a bibliography and a
so u rce book, th e Kochel work provides a wealth of information about
early editions of ea ch work and its m anuscript so u rces, a s well as
early perfo rm an ces.

In th e early 1800’s, Breitkopf attem pted to produce a com plete

edition of M ozart's m usic, but this plan did not su c c e e d until after
1877. Editors for Breitkopf included Brahms, Kochel, W aldersee,
Spitta and other fam ous scholars. Their stan d ard s w ere a s good as
th e b est of their day, and the Breitkopf edition w as accep ted until
 108

well into th e tw entieth century. At p resen t th e com plete full

orchestral sc o re s published by Breitkopf are difficult to a c c e s s
except in libraries, but th e orchestral sc o re s of th e following have
been reprinted by Broude: K. 271, 413, 414, 415, 450, 453, 459, 466,
467, 482, 491, 503, 537, and 595. Broude also published th e 36
original c a d e n z a s by Mozart and miniature sco res. 1

The Neue Mozart Ausgabe (NMA) - new Mozart edition, was

published by B arenreiter and edited by the International M ozarteum
Foundation in association with th e cities of Augsburg, Salzburg, and
Vienna in 1955. The NMA offers uniformly high quality of
scholarship, b a se d on editorial principles which have been generally
accepted a s part of th e growth of musicology. Thus, it becom es a
fundam ental so u rce, especially w here the autograph w as lost, and
tries to establish a s exactly as possible the musical text which
Mozart wrote. It is divided into 10 series, and the concertos are
compiled in a series of 5.2

T here a re other principal Mozart editions which include

various groups and series, com plete and single works, and extracts
and arrangem ents. The D minor concerto, K. 466, can be found in the
following editions:
1. P eters edition (arranged for two pianos), edited by Edwin
Fischer and Kurt Soldan. No cadenzas.
 1 09

2. Schirm er edition (arranged for two pianos), edited by Franz

Kullak. C adenzas by Beethoven and J. N. Hummel are
included.
3. International Music Com pany (arranged for two pianos),
edited by Adolf Ruthardt. C adenzas by Beethoven, Brahms,
and Reinecke for the first movement, and by Beethoven
and Reinecke for the third m ovement, are included.
4. A ssociated Music Publishers, edited by Carl Reinecke. Solo
part only, th e second piano part published separately. No
cad en zas.
5. Eulenburg edition (in score), edited by Friedrich Blume.

The other selective c ad en zas of K. 466 are listed a s follows:

1. Barenreiter edition (Kassel, London, New York), by Paul

Badura-Skoda.
2. Breitkopf edition, by Beethoven.
3. Breitkopf edition, in vol. 15 of the com plete edition, by
Brahm s.
4. Litolff edition (Brunswick), by R.M. Breithaupt.
5. Doblinger edition (Vienna), by Alfred Brendel.
6. Breitkopf edition, by Busoni.
7. C h ester edition, by C asella.
8. Broude (N. Y.), by Landowska.
9. Breitkopf edition, by C. F. Reinecke.
10. Schott edition, by Rubinstein.
 110

11. R ieter-Biederm ann (Leipzig), by C lara Schum ann.

12. Elkan-Vogel Company, by Robert C asad esu s.3

C adenzas

A stan d ard feature of the classic concerto w as the cad en za

which h as a com pound function: (1) to s e t up th e final a re a of arrival
by m ean s of an em phatic dom inant gesture, (2) to allow th e soloist
som e sc o p e for th e display of his technical skill and invention. The
ca d en za may take place in all three m ovem ents of a concerto;
how ever one of th e m ost effective places for a cad e n z a is just
before th e return to th e refrain in a rondo or before the final
statem en t of th e original th em e in a variation m ovem ent.^ C zerny
explains th e ca d en z a a s follows:

T he older concertos (for exam ple, all of M ozart's, m ost of

B eethoven's, etc.) have a prolonged p au se tow ards the
clo se of th e last Tutti, after which th e perform er h as to
improvise a grand cadenza. These. . . can be extended
considerably and th e perform er can indulge in all
conceivable m odulations therein. But all interesting
su b je c ts from th e concerto a s well a s its m ost brilliant
p a s s a g e s m ust m ake their ap p earan ce here (my
em phasis). T h ese cad en zas can be regarded to som e
extent a s independent fantasies, and. . . the perform er
can display his artistry here a good deal more than in the
co n ce rto itself.5

Kollmann adds:

But a s on th e harpsichord and the pianoforte, the sounds of

th e su sp en sio n c e a se , before the intended term ination of
th e p au se, som e perform ers may have tried to continue
 111

them , by dividing repeatedly the notes of the suspending

chord by an arpeggio; either in their one position only, or in
various positions over the whole instrum ent. This very
proper flourish h as d eg en erated into what is now called a
Fancy Cadence.®

Mozart h as 36 c a d e n z a s available, but unfortunately no original

ca d en zas have been found for his many well-known concertos. Many
perform ers today u se published or improvised cad e n z a s that do not
m atch M ozart's style. T herefore, a familiarity with th e
characteristics of surviving o n es can help m odern pianists ch o o se
appropriate c a d e n z a s and entries or even com pose their own.7

Mozart always placed cad e n z a s in first m ovem ents at the end

of th e recapitulation before leading into the coda. A form ata over a
tonic six-four chord indicates a cadenza. Furtherm ore, shorter,
sim pler interpolations, called entries, start from the dom inant
instead of beginning on a tonic six-four chord and prep are th e return
of th e main th em e in rondo finales and are indicated by a form ata
over a dom inant chord.

A Mozart c a d e n z a typically opens with technical figuration or

quotation of a th em e from earlier in the movem ent, entering on the
tonic six-four chord. It u s e s such developm ental devices a s
se q u e n c e , shortening of m otives, and altering of melodic outlines.
This is usually followed by an extended final cad en ce which builds
tension a s it lead s to a dram atic return of th e tonic six-four chord.
 1 12

resolving to a trill on th e dom inant seventh chord th at gives way to

the orchestral coda.

Most of M ozart's c ad e n z a s contain them atic quotations; som e

ca d en zas even quote two or th ree them es. Often, M ozart's cad en zas
do not resta te entire th em es but rather develop or alternate brief
them atic fragm ents. He draw s th e se th em es from a variety of
sections within th e m ovem ent, even quoting the middle or end of a
them e rath er than its beginning.

T he brevity and conservative harm onies of M ozart's cad e n z a s

su g g est that Mozart did not intend them to m atch th e level of
excitem ent that he often achieved in developm ent sections.
According to Fetsch, th e length of M ozart's c a d e n z a s in first
m ovem ents ran g es from 5 to 39 m easu res; c a d e n z a s in slow
m ovem ents contain 5 to 26 m easu res, and in finales, 10 to 53
m easu res, a higher num ber attributable to third m ovem ents' fast
tem pos.® Thus, nearly all th e c ad en zas added to M ozart's concertos
by other com posers are too long. C ad en zas should not be too long,
particularly in p ieces w hose ch aracter is sad , etc.® M any published
cad en zas are far longer and m ore harmonically adventurous than any
Mozart wrote.

His ca d en zas and entries avoid the Sturm and Drang, frequent
m odulations, and surprising harm onies typical of developm ent
sections; they also quote th em es sparingly.
 113

M ozart’s c a d e n z a s do not quote figuration from the m ovem ent

but rather u se newly devised figures b ased on s c a le s and arpeggios.
F etsch lists th e following technical figurations In M ozart's cad e n z a s
(S ee Figure 62):

flU iiriitin n /« ijf d o n jc n ff i

l^3=%=Nl=IS|^|s l W=WË|^jTj=^=|^=]|

r f |u r d d o r t 6(U rii o n chiiri/i

r#l5iifllüE É E ^ ^ piiŒ lll

Figure 62. Technical figuration In M ozart's c a d e n z a s

 114

There are many c ad en zas by different com posers and pianists,

including the m ost fam ous one by B eethoven, which are listed as
fo llo w s:

First m ovem ent:

Alkan, Anda, Badura-Skoda, B eethoven, Brahm s, Breithaupt,

Brendel, Busoni, C a sad e su s, C asella, Eckhoff, Fischer, Flothius,
Hummel, Kempff, Kraus, Landowska, Magaloff, Muller, Neukomm,
Reinecke, Rubinstein, S ancan, C lara Schum ann, Stravinsky,
T agliapietre, Winding, Zweigelt.

Third m ovem ent:

Alkan, Anda, Badura-Skoda, B eethoven, Breithaupt, Brendel,

Busoni, C asad e su s, C asella, Eckhoff, Fischer, Flothius, Hummel,
Kempff, Kraus, Landowska, Magaloff, Neukomm, Reinecke,
Rubinstein, S an can , Clara Schum ann, Stravinsky, Tagliapietra,
Winding, Zweigelt.11

Brahms and Muller did not write th e last m ovem ent cad en za, but only
the first m ovem ent cadenza; all others wrote both m ovem ent
cad en zas.
 11 5

R ecordings:

Num erous recordings of th e D minor piano concerto are

available, including th o se by popular pianists, featuring favorable
interpretations, and different playing styles. T hey are listed a s
fo llo w s:

1. Ashkenazy: London Sym,; Schm idt-lsserstedt. With K. 238.

SXL 6353; London 6579.
2.Barenboim; English C ham ber Orch. With K. 488. ASD 2318;
Angel S 36430 (With K. 576 Piano sonata).
3. Richter; W arsaw Phil; Wislocki. With B eethoven Concerto
rondo. 135122; DGG 138075 (With Prokofiev Piano
concerto no. 5).
4. Anda; Salzburg Mozarteum. With K. 456. SLPM 138917; DGG
1 3 8 9 1 7 .1 2

5. G. Anda (piano & conductor), Vienna SO + Con. 21; Ovs. RCA

(Silver Seal) 60484-2 [ADD]; 60484-4 (C r02).
6. V. Ashkenazy, Philharmonia Orch. (""Favourite Mozart") +
Cons. 21, 23 & 27; Rondo, K. 511; Son. 17, London
2-436383-2 [ADD].
7. Badura-Skoda (piano & cond.), Prague CO + Con. 21, Valois V
4664.
8. Barenboim (piano & cond.), Berlin PO (‘T h e Late Piano
C oncertos”) + C ons. 21-27, T eldec 4-9031-72024-2
[DDD].
 116

9. Barenboim (soloist & cond.), Berlin PO + Con. 21, Teldec

9031-75710-2 [DDD].
10. Bilson (fortepiano), Gardiner, English B aroque Soloists +
Con. 21, D eutsche Gram mophon (Archiv) 419609-2 [DDD].
1 1 .8 . Bishop Kovacevich, 0 . Davis, London SO + Con. 23, Philips
(C oncert C lassics) 422466-2.
12. A. Brendel, N. Marriner, ASMF + Con. 24; Rondo, K. 382,
Philips (C oncert C lassics) 420867-2.
13. H. Czem y-Stefanska, E. Chakarov, Festival Sinfonietta +
Con. 23; Cons. 1 & 2 Violin, Vivace 2-G 217 [ADD].
14. Y. Egorov, W. Sawallisch, Philharmonia Orch. + Beethoven:
Con. 5, Angel (Studio DDD) CDD 63892 [DDD].
15. A. Fischer, E. Lukacs, Budapest So (rec. 1965) + Con. 21;
Rondo, K.382, Hungaroton HCD 31492 [ADD].
16. E. Fischer, Jochum, Bavarian RSO (rec. live 1951) + Brahms:
Sym. 4, Memories HR 4246 (m).
17. A. Giulini, A. Lizzio, Mozart Festival Orch. + Cons. 21, 23,
26, Sound 2-E 219 [DDD].
18. A. Giulini, A. Lizzio, Mozart Festival Orch. ("Mozart
Collection I") + Cons. 9, 17, 21, 23 & 26, Vivace 3-E 313
[DDD].
19. F. Guida, C. Abbado, Vienna PO + Con. 21, Deutsche
Gram m ophon (Galleria) 415842-2 GGA [ADD].
20. Haebler, Melles, Vienna SO + Con. 19, Allegretto ACD 8011
[ADD]; ACS 8011.
 117

21. Haskil, Fricsay, Berlin RSO (rec. J a n . 10, 1954, Europa-

P alast, Berlin) + Entfuhrung; S e re n a ta , Myto R ecords 2-2
MOD 923.61 [ADD].
22. C. Haskil, Klemperer, Lucerne Festival Orch. (rec. live Sept.
8, 1959) + Con. 27, AS Disc AS 612 [ADD].
23. M. H ess, B. Walter, New York PO (rec. live Mar. 4, 1956) +
Con. 14, AS Disc AS 401 [ADD].
24. J. Jando, A. Ligeti, Concertos H ungaricus (rec. May 1989) +
Con. 13, Naxos 8.550201 [DDD].
25. J. Jan d o , A. Ligeti, Concertos Hongaricos (rec. May 1989) +
Con. 21, Naxos 8.550434 [DDD].
26. J. Katchen, Monchinger, Stuttgart CO + Con. 21, London
(W eekend C lassics 425506-2.
27. E. Kissin, V. Spivakov, Moscow Virtuosi + Con. 12; Rondo K.
382, RCA (Red Seal) 09026-60400-2; 09026-60400-4.
28. C. Kite (fortepiano), R. Goodman, T he H anover Band [period
instrum ents] + Serenata; Sym. 41, Nimbus NI 5259 [DDD].
29. C. Kite, R. Goodman, The Hanover Band [period instruments]
+ Con. Ciarinet; Cons. Horn; Con. Mvmnt, K. 494a; Requiem;
S eren ata; Eine kieine; Syms. 40 & 41 (limited edition).
Nimbus 4-NI 1791 [DDD].
30. L. Kraus, E. Jorda, Pro Musica Orch. + Cons. 11 & 19;
Menuett; Rondo, K. 485; Son. 12 Vox Box 2-CDX 5510
[ADD].
 118

31. Y. Lefebure, Furtwangler, Berlin PO + Brahms: Con Violin &

Cello, AS Disc AS 372 [ADD].
32. Y. Lefebure, Furtwangler, Berlin PO (rec. live May 15, 1954,
Lugano), + Beethoven: Sym. 6, Ermitage ERM 120 [ADD].
33. Lubin (piano & cond.), M ozartean Players + Con. 23,
A rabesque Z 6530.
34. M ichelangeli, Mitropoulos, Maggio M usicale Florentine Orch.
(rec. live, Ju n e 17, 1953) + Don Giovanni; Ovs., Arkadia 3-
552 (m) [ADD].
35. Michelangeli, Orizio, O rchestra "G asparo da Salo" (rec. Oct.
11, 1966 in th e Concistory, Vatican City) + Con. 13;
Haydn: Con. H. XVI11/2, Arkadia 560 [ADD].
36. J. O'Connor, C. Mackerras, Scottish CO (rec. Oct. 30-31,
1991) + Con. 22, Telarc CD 80308 [DDD].
37. Perahia (piano & conductor), English CO + Con. 27, CBS MK
42241 [AAD].
38. M. Pollini, Vienna PO + Cons. 12, 14, 19 & 24, Exclusive EXL
35 [AAD].
39. Rubinstein, Giulini, Philharmonia Orch. + Grieg: Con.,
Intaglio INCD 7101 [ADD].
40. Rubinstein, W allenstein, RCA Victor SO + Con. 21; Haydn:
A ndante w. Vars., RCA (Gold Seal) 7967-2 [ADD]; 7967-4.
41. W. Saw allisch, Philharmonia Orch., EMI C lassics CDE 67764.
42. A. Schiff, S. Vegh, C am erata A cadem ica d es M ozarteums
Salzburg + Con. 21, London 430510-2 LH [DDD].
 119

43. Schnabel, Susskind, Philharmonia Orch. (rec. Ju n e 17-18,

1948) + Con. 21; Son. 12, Arabesque Z 6591 (m).
44. A. Schnabel, G. Szell, Philharmonic SO, New York (rec. live
Dec. 24, 1944) + Allegro & Andante; Con. 17, Music & Arts
Program s of A m erica CD 750-1 [AAD].
45. R. Serkin, C. Abbado, London SO + Con. 21 D eutsche
Gram m ophon (3-D Classics) 431278-2 [DDD].
46. R. Serkin, G. Cantelli, New York PO (recc. live Mar. 27,
1953) + Beethoven: Con. 1 Piano; W eber: Ovs., AS Disc AS
623 [ADD].
47. R. Serkin, G. Szell, Columbia SO ("Mozart: Legendary
Interpretations") + Piano Con. 10, 12, 14, 17, 19 & 27;
Rondos, K. 382 & K. 511, Sony C lassical 3-SM3K 47207.
48. R. Serkin, Szell, Columbia SO + Con. 19, CBS MYK 37236
[ADD]; MYT 37236.
49. R. Serkin, Szell, Columbia SO + Con. 27, O dyssey MBK
42533; YT 42533.
50. H. Shelley (piano & conductor), London Mozart Players + Con.
23, Chandos CHAN 8992 [DDD].
51. G. Solti, English CO + Cons. 7 & 10., London 430232-2 LH
[DDD].
52. Uchida, Tate, English CO + Con. 21, Philips 416381-2 PH
[DDD]; 416381-5.
53. Uchida, Tate, English CO + Con. 23, Philips (Insignia)
434164-2 PM [DDD].
 120

54. B. W alter (piano & cond.), NBC Sym. (rec. live Mar. 11, 1939)
+ Divert., K. 287; Sm etana: B artered (ov.), AS Disc AS 404
(m) [ADD].
55. B. W alter (piano & conductor), Vienna PO (rec. 1937, from
Victor M 420) + German D ances K. 605; Eine kieine; Sym.
38, Pearl PEA 9940 (m) [AAD].
56. B. W alter (piano & conductor), Vienna PO + German D ances;
Ovs.; Requiem; Eine kieine; Sym s. 38, 39 & 41, Angel
(G reat Recordings of the Century) 3-ODHO 63912.
57. B. W alter, Vienna PO (rec. May 7, 1937; from HMV DB
3273/6) + Sym. 41; Haydn: Sym. 100, P reiser 90141 (m)
[AAD].
58. W estenholz, Schonwandt, C openhagen Collegium Musicum +
Con. 23, Bis CD 283 [DDD].13
59. A shkenazy, Schm idt-lsserstedt/L ondon Symphony: London
60. R. C a sa d e su s, Szell/Columbia Symphony: CBS
61. Haskil, Paum gartner/V ienna Sym phony: Mercury
62. Haskil, M arkevitch/Lamoureux O rchestra: Philips (CD)
63. M atthew s, Swarowsky/Vienna S ta te O pera: V an g u ard i4

The recordings of th e com plete Mozart concerti include:

1. Anda, Anda/Salzburg Mozarteum: DG.
2. Brendel, M arriner/Academy of St. Martin: Philips (CD),
3. Perahia, Perahia/English Cham ber O rchestra: CBS (CD).is
 121

REFERENCES

1. J a m e s Frisken and Irwin Freundiich, Music for the Piano

(New York; Dover Publications, Inc., 1973), p. 382.

2. Alec Hyatt King, M ozart (London: Archon Books & Clive

Bingley, 1970), pp. 68-73.

3. ibid., pp. 80-81.

4. Leonard G. Ratner, Classic Music (New York: Schirm er Books,

1980), pp. 305-307.

5. Richard Kramer, "C adenza Contra Text: Mozart in Beethoven's

Hands," Nineteenth Century Music, Vol. 15, No. 2 (Fall,
1991), p. 131.

8. Ratner, op. cit., p. 305.

7. Wolfgang Fetsch, "C adenzas in the Mozart Concertos,"

Clavier, Vol. 30, No. 10 (Dec., 1991), p. 13.

8. ibid.

9. Eva and Paul Badura-Skoda, Interpreting Mozart on the

K eyboard (New York: St. Martin's Press, 1962), p. 241.

10. Fetsch, op. cit., p. 17.

11. Ruth Rendleman, "A R eference Guide to the C ad e n zas for the
Mozart Piano Concertos," Piano Quarterly, 29th, no. 114,
(Sum m er, 1981), p. 40.

12. King, op. cit., p. 98.

 122

13. G eary Kaczorowski, Listings Editor, Schwann Opus, Vol. 5,

No. 3 (Summer, 1994), p. 549.

14. David Dubai, The Art of the Piano: Its Performers,

Literature, and recordings (New York: Summit Books,
1989), p. 373.

15. Ibid., p. 370.

 CONCLUSION

This docum ent provides a general study and discussion of the

background, structural analysis, and interpretation of M ozart's D
minor piano concerto. In order to perform this work and deliver
M ozart's clarity of sty le with a ccu rate interpretation, th e perform er
m ust also bring his own sensibility and intuition into play.

T he woodwinds w ere significantly em ployed in M ozart’s later

piano concertos to e x p re ss m iscellaneous tonal color. According to
Ratner, the woodwinds joined th e strings to form a three-part
en sem b le with the piano, s o th at th e se works are virtually
"sym phonies co n certan tes." 1

As a unique com position, Mozart's D minor piano concerto

p resen ts dram atic c o n tra sts from th e opening note of th e first
m ovem ent to the ending of the third m ovement. The equalized
relationship betw een piano and o rch estra reflect M ozart's
transform ation from com posing entertainm ent m usic to m usic of
m ature introspection.

123
 124

T here is no doubt that th e M ozart's piano concertos established

the “perfect" concerto model and late 18th century elem ents of
style and structure, leading to th e continued developm ent of the
piano concerto form.
 12 5

REFERENCE

1. Leonard G. Ratner, Classic Music (New York: Schirm er Books,

1980), p. 297.
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