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The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated [[cadenza]]) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in [[C major]] and begins transitioning to the dominant key of [[G major]]. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to [[G minor]] in a passage that is reminiscent of the main theme of the [[Symphony No. 40 (Mozart)|Symphony No. 40]] in that key.<ref>{{cite book|last=Girdlestone|first=C. M.|author-link=Cuthbert Girdlestone|date= 1997|title=Mozart's Piano Concertos|pages= 332–347|publisher=Cassell|location=London|isbn=0-304-30043-8}}</ref> A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's [[Horn Concerto No. 3 (Mozart)|Third Horn Concerto]]. The usual development and recapitulation follow. There is a [[cadenza]] at the end of the movement, although Mozart's original has been lost.
The ''[[Andante (tempo)|Andante]]'', in the [[subdominant]] key of F major, is in three parts. The opening section is for orchestra only and features muted strings. The first violins play
The final [[rondo]] movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging themes. The soloist plays [[musical scale|scale]] and [[arpeggio]] figurations that enhance the themes, as well as a short cadenza that leads back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.
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