122
b. theme 2: quiet and lyrical, violins answered
by woodwinds
c. solo exposition: new “piano theme” between
themes 1 and 2
3. development: virtuosic piano part, vari ous
modulations
4. recapitulation:
a. theme 1: strings, decorated version by piano
b. piano theme: light orchestral accompaniment
c. theme 2: in piano, then woodwinds
d. cadenza by Mozart: variations on earlier themes
OVERVIEW
This chapter introduces the Classical concerto, focusing on
the formal design of first- movement concerto form as exem-
plified in Mozart’s Piano Concerto in G Major, K. 453.
LEARNING OBJECTIVES
1. To understand the Classical concerto as a genre both
inuenced by and departing from the Baroque concerto
2. To understand the multimovement structure of the Clas-
sical concerto, and to recognize the cadenza as a new and
unique feature of the genre
3. To understand first- movement concerto form as exempli–
fied in Mozart’s Piano Concerto in G Major, K. 453
LECTURE SUGGESTIONS
1. Display for students the formal outline of the first move–
ment of Vivaldi’s Spring concerto from Chapter27 and
OUTLINE
I. Movements of the Classical Concerto
A. Classical era shifted emphasis from solo group to
solo instrument
1. solo instrument and orchestra
2. virtuoso soloist: strong conversation leader
3. three movements, fast– slow– fast (established by
Vivaldi)
4. cadenza: virtuosic solo passage
a. orchestra falls silent
b. improvisational, free play on one or more
themes
B. First– movement concerto form
1. sonata- allegro form with double exposition
2. orchestral exposition, tonic key
3. second exposition: soloist, elaborated versions of
themes
4. cadenza: near end of the movement
5. coda: strong affirmation of tonic key
II. Mozart and the Piano Concerto
A. Twenty– seven piano concertos by Mozart
1. public per for mances: Mozart at the piano
2. brilliant ourishes, elegant gestures
3. 1784: five concertos
4. K. 453 composed for student, Barbara von Ployer
a. graceful writing for woodwinds
b. lyrical slow movement, theme and variations
c. third movement, dancelike theme (taught to
his pet starling)
B. LG 22: Mozart: Piano Concerto in G Major, K. 453,
I (1784)
1. Allegro; first- movement concerto form
2. exposition:
a. theme 1in violins: lilting, quiet
CHAPTERfi32 Conversation with a Leader:
The Classical Concerto
Conversation with a Leader: The Classical Concerto | 123
Irving, John. Mozart’s Piano Concertos. Aldershot, UK, and Bur-
lington, VT: Ashgate, 2003. A scholarly guide to the concertos.
Formal background is treated in Part 1; K. 453 is detailed in Part
2 (pp.213–16).
YOUR TURN TO EXPLORE
MODEL RESPONSES
The position of the piano soloist on the stage in front of
the orchestra and conductor confirms the soloist as the
“leader” of this concerto. The centrality of the soloist is
orchestra drops out altogether while the soloist plays. As
in the Haydn Trumpet Concerto, the orchestra and piano
2. Louis Armstrong, Live in Copenhagen, 1933 (https://
www . youtube . com / watch ? v = UZvqvNYJmC4)
In this clip, Louis Armstrong is playing many roles in
its enthusiastic applause from the audience. Ele ments of
Armstrong’s “act” include: pacing around the stage and
encouraging the band members as they play their solos,
singing and storytelling (“Tiger Rag”), introducing each
Mozart’s concerto and ask the class to note the structural
differences and similarities between the two. Students
should detect the ritornello concept in both excerpts but
should also be able to identify the thematic areas (first
and second themes and exposition, development, recap)
of the Mozart concerto that make up sonata- allegro form.
At the end of the movement, students should also iden-
the solo exposition and be able to trace its appearances
later in the movement. Discuss how this additional
theme fits into the typical plan for first- movement con–
certo form.
1. How does the Classical concerto exemplify the concept
of conversation as discussed in earlier chapters in Part
4? Which performers are involved in this conversation?
2. How does Mozart’s Piano Concerto in G Major highlight
the talents of the solo pianist?
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY