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Technical Notice
| Classical Composer: | Mozart, Wolfgang Amadeus |
|---|---|
| Work: | Piano Concerto No. 21 in C Major, K. 467 |
| Year Composed: | 1785 |
| Instrumentation: | 1, 2, 0, 2 - 2, 2, 0, 0, timp, str, [solo piano] |
| Publishers: |
Edwin F. Kalmus Bärenreiter Verlag Chester Music and Novello & Co. Edition Eulenburg The Edwin A. Fleisher Music Collection Breitkopf & Härtel |
| Duration: | 00:28:00 |
| Period: | Classical (1750-1830) |
| Work Category: | Concerto |
Work Information
Available Recording(s)
Mozart's Piano Concerto in C major, K. 467, was entered in his catalogue of compositions with the date 9th March, 1785, a month after his D minor Concerto. Like its immediate predecessor it is scored for trumpets and drums, as well as flute, pairs of oboes, bassoons and horns, and strings, with divided violas. It was first performed by the composer at the fifth of his Lenten Mehlgrube concerts on 11th March, the day after a concert in the Burgtheater for which he had used his new fortepiano with an added pedal-board, an instrument that his father remarks is constantly being taken out of the house for concerts at the Mehlgrube or in the houses of the aristocracy.
The opening bars of the exposition, played by the strings, are answered, in military style, by the wind, and there is a second theme of less significance than a true second subject, which is reserved for the soloist's exposition. The soloist enters at first with an introduction and brief cadenza, leading to a trill, while the strings again play the first part of the principal theme, answered by the piano, which then proceeds to material of its own. An unexpected foretaste of the great G minor Symphony from the soloist leads to the happier mood of the true second subject, echoed by the woodwind and followed by darker moments in the central development. The F major slow movement has won recent fame, by its use in the film Elvira Madigan, but is, nevertheless, one of the most beautiful of Mozart's slow movements, moving in its apparent simplicity and lack of bravura but complex, in fact, in its harmonic pattern. Trumpets and drums return for the final rondo, its principal theme announced by the orchestra and repeated by the soloist. The movement provides a relaxation of mood, a carefully balanced and lighter conclusion to a concerto of much substance.
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