Analysis of Mozart’s Piano Concerto in D Minor

This is the analysis if the Mozart’s piano concerto K.466 in D minor, completed on 10th February 1785. The piano concerto which lasted for 30 minutes was performed in Mehlgrube Casino, Vienna by the composer (Mozart) as the soloist. No. 20 Mozart piano concerto in D minor is scored for; solo piano, two Oboes. Flute, two horns, two bassoons, timpani, two trumpets, and strings were used. Like in many other piano concertos it has three movements; the allegro, romance, and rondo.[1]

The allegro movement starts with a dark tonic D minor key while the strings are agitatedly building to create a full forte. The two quickly merges to form a theme which, the soloist retains throughout the movement. However, in this movement, there is a rather bright mood theme which is not clearly established. The soloist then uses the timpani to intensify the conflict in the code before which the movement goes on a quiet note. The composer uses a D minor which is motivic compared to the conventional styles.[2]

Throughout the movement, the soloist does not play exactly what is provided by the orchestra sets yet he does not lose the theme until the introduction of coda. Roy points that the composer creates a drama whereby there is no relationship between the orchestra and the soloist.[3] The resultant situation is tense where the piano phrases are not corresponded by the orchestra. He uses syncopations to create motions and tension.

The romance movement is a combination of D minor relative key, five-part of rondo, B major, and coda. The movements start with a flamboyant piano play and a pleasant melody of B major without any accompaniment. The passionate and tender melody gives a very peaceful and harmonious sense between the orchestra and the piano.[4]

Halfway through the movement, there is an abrupt intrusion of intense storm that juxtaposes the beautiful and pleasant melody. The storm sets in with no transition, but we are shortly returned back to the soothing B major melody. Throughout of the movement, there is no use of timpani and trumpets.[5] The B major melody goes on to a faint tune till near end. The movement ends with a slightly ascending arpeggio which disappears into a faint tune. Mozart uses conventional styles at the beginning of romance movement to settle the intensity from the previous movement. However, he suddenly introduces a more angst mood through a noisy G minor key interlude.

The rondo movement starts with a rippling home key and rhythmic furious response from the orchestra. A second theme is introduced through the piano but still doesn’t clear the dark tone instead, makes it strangely restless. The piano rounds off the lively melody before which, the F major and orchestra introduces a jovial melody. The cheerful melody is gradually snapped by sequences of sharp piano chords that finally settle with the introduction of the soft D minor melody. The D minor and orchestra open the second theme that involves modulations of G and A minor tune. The two themes play repeatedly in the same format, but with a momentary pause for cadenza at the end. The cadenza enhances the incoming peaceful tune into a clear key parallel to D major. The passionate and bright melody is later taken up by rhythmic piano and an orchestra passage that round up the whole concerto in a colorful, cheerful and jubilant finish.[6]

The rondo movement is introduced by a rather menacing dark piano with a slowly growing orchestra; he manifests his excellent talent in making fragile wind section throughout this movement. The sudden introduction of brighter major melody happens with no transition yet the two merges harmoniously.  Despite series of intense moods through the three movements, the end of the concerto resolves them all.[7]

The dramatic arch of the concerto is employed through the use of high-style in the start and a low-style at the finale. The soloist creates a high-style and middle style in the first movement and keeps them unresolved leaving audience eager to follow up the conflict in the second and third movement. In the second movement, Mozart uses middle styles Musette to create a nostalgic feeling until in the C section where a mood expresses soloist’s disruptive desire. In the third movement, he sidesteps from the struggle and juxtaposition between the three styles by playing the high-style and low-style in a calmed scale.

According to Irvin Mozart’s sharp distinction between tutti and solo is highly specialized and that’s why his melodies are contrasted without resolution or compromise. The end of each movement is quite gentle as though the struggle contestants were exhausted. These are unusual within conventional melodic styles.

Bibliography

Irving, John. Mozart’s piano concertos. Routledge, 2017.

Roy, Adam. “Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart            and Schumann.” PhD diss., Université d’Ottawa/University of Ottawa, 2015.

Shen Y. Narrative Analysis of Mozart Piano Concertos No 20. (Doctoral Dissertation), 2015.

[1] Irving, John. Mozart’s piano concertos. Routledge, 2017.

[2] Shen Y. Narrative Analysis of Mozart Piano Concertos No 20. Doctoral Dissertation, 2015

[3] Roy, Adam. “Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart       and Schumann.” PhD diss., Université d’Ottawa/University of Ottawa, 2015.

[4] Shen Y.Narrative Analysis of Mozart Piano Concertos No 20. (Doctoral Dissertation, 2015.

[5] Irving, John. Mozart’s piano concertos. Routledge, 2017.

[6] Shen Y. Narrative Analysis of Mozart Piano Concertos No 20. Doctoral Dissertation, 2015.

[7] Roy, Adam. “Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart       and Schumann.” PhD diss., Université d’Ottawa/University of Ottawa, 2015.