Mozart piano concerto no 24 analysis meaning
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Piano concertos by Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart's concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos and three unnumbered concertos K. 107 are early works that are arrangements of keyboard sonatas by various contemporary composers. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Many of these concerts composed Mozart for himself to play in the Vienna concert series of 1784–86.
For a long time relatively neglected, Mozart's piano concertos are recognised as among his greatest achievements. They were championed by Donald Tovey in his Essay on the Classical Concerto in 1903, and later by Cuthbert Girdlestone and Arthur Hutchings in 1940 (originally published in French) and 1948, respectively. Hans Tischler published a structural and thematic analysis of the concertos in 1966, followed by the works by Charles Rosen, and Daniel N. Leeson and Robert Levin.[1]
The first complete edition in print was not until that of Richault [fr] from around 1850; since then the scores and autographs have become widely available.
Piano concertos
[edit]List of concertos
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Piano Concerto No. 24 elation C Smaller, K. 491
Program Notes mass Dr. K. Dawn Grapes
Year of Composition: 1786, Duration: 31 minutes
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MusicWeb International Review: Mozart Piano Concertos
MusicWeb International
October 10, 2019
By Jonathan Woolf
Wolfgang Amadeus MOZART (1756-1791)
Piano Concerto No. 17 in G, K453 (1784) [30:01]
Piano Concerto No.24 in C minor, K491 (1786) [29:04]
Orli Shaham (piano)
St Louis Symphony Orchestra/David Robertson
rec. 2017/18, Powell Hall, St Louis, Missouri
CANARY CLASSICS CC18 [59:10]
Coupling two such theatrical concertos as these, and ones that sport theme and variations in their finales, makes good sense. It also marks the first commercial recording in 16 years for the St Louis Symphony under David Robertson, then nearing the end of his 13-year stint as music director. Who better to accompany, then, than his wife, Orli Shaham playing on a New York Steinway.
Clearly there was perceptive microphone placements in Powell Hall, as the balances are finely judged, and things emerge naturally and not spotlit. In the Concerto in G the opening orchestral introduction is genially characterised and there is a chamber-like colloquium between soloist and wind principals. The violins sound divided too, and the consequent performance marries elegance, precision in voicings and secure ensemble. Similarly, there’s a touching intimacy in the slow movement and Shaham’s