2, 3, and 4, all composed by 1766). The piano enters with a new theme of its own, a quiet, pathetic melody. The ensuing coda turns to the bright key of D major. The first movement was played in the ballet scene in Series 1 Episode 8 of the television series Mr. 24 in C minor being the other). In this post, discover Mozart’s dark and stormy Piano Concerto No. 20, possibly the composer’s most popular work for piano and orchestra. a cheerful, major-key tune for woodwinds. 20 in D minor, K. 466, was composed by Wolfgang Amadeus Mozart in 1785. On March 26, 28, and 29, conductor Matthias Pintscher and pianist Cédric Tiberghien team up for Mozart’s Piano Concerto No. When the orchestra returns to the brooding drumroll-theme that opened the movement, the soloist joins it with fast, agitated passagework. The fact that Mozart had a piano with a pedal-board is reported in a letter written by his father, Leopold, who visited his son while he lived in Vienna. The first movement was also heard in American composer James Hewitt’s Medley Overture in D minor-major . Based on handwriting analysis of the autographs they are believed to date from … It is the first of two piano concertos written in a minor key (No. a brighter version of the music it first played. 20, possibly the composer’s most popular work for piano and orchestra. Other works by the composer in that key include the Fantasia K. 397 for piano, the Requiem, a Kyrie, a mass, the aria "Der Hölle Rache kocht in meinem Herzen" from the opera The Magic Flute and parts of the opera Don Giovanni. Mozart titles the slow second movement “Romance,” a term which usually indicates a piece in a simple, vocal style with a main theme and one or two contrasting middle sections. The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. —Calvin Dotsey. In the early 19th century, changing tastes and standards of virtuosity meant that many of Mozart’s piano concertos went unperformed in public for many years, but thanks to its brooding moods, this concerto did not suffer the same fate. the other characters return to assure us that “Thus is the fate of all evildoers.”, changing tastes and standards of virtuosity, Playliszt: 10 Great Pieces by Music’s Original Rock Star. Composed in 1785 at the height of his popularity in Vienna, the piece was an immediate success at its February 11 premiere. As is typical with concertos, it is in three movements: The first movement starts off the concerto in the dark tonic key of D minor with the strings restlessly but quietly building up to a full forte. It is written in the key of D minor. The orchestra pauses as if taking a breath. Halfway through, the piece moves on to the second episode (part C), where instead of the beautiful melody, a storm sets in. In addition to the D minor tonality, the uneasy syncopated violins recall Don Giovanni’s confrontation with the statue that drags him to hell; the drumroll-like figures in the low strings resemble the statue’s knocks at the door: These ideas begin softly, but soon become more forceful as the music begins a transitional passage. Many cadenzas have since been written for the concerto (see the end of this post). 20, an eclectic program of works by Mozart, Debussy, and Webern. Because Mozart was also an expert on the organ, operating a pedal-board with his feet was no harder than using only his hands. This solo theme alternates with the orchestra’s ominous drumroll music, as if the piano is in dialogue with some antagonist. In a letter to Mozart’s sister, his father Leopold reported, “The concerto was incomparable, the orchestra excellent,” but also noted that “the copyist was still working when we arrived, and your brother did not even have time to play the rondo [the last movement] through, as he had to look through the copying,” suggesting that Mozart had once again waited until the last minute to put music on paper. It continues to move and delight audiences today. However, according to Leopold's report, at the first performance of Piano Concerto No. The new stormy material is turbulent, agitated and ominous theme, in the relative key of G minor, which greatly contrasts the peaceful mood at the starting of the movement. Johann Nepomuk Hummel, Ludwig van Beethoven, Clara Schumann, Johannes Brahms, and Ferruccio Busoni all played it as part of their careers as pianists, and they all also composed cadenzas for it (see links). Mozart concerto 20 in d, K.466 - 2. 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