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W.A. MOZART
Piano Concerto No. 21
in C major, KV467
Elvira Madigan
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CONCERTO
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IN C MAJOR
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SECTION
PAGE
I. (Allegro maestoso).......................................................................... 7
Oboe intro to measure 69 .............................................................. 9
Measure 80: Orchestra re-entry ................................................... 10
Measure 107: Tutti ..................................................................... 12
Measure 122: Orchestra re-entry ................................................. 12
Measure 136: Tutti ..................................................................... 13
Measure 177: Orchestra re-entry ................................................. 16
Measure 194: Orchestra re-entry ................................................. 18
Measure 231: Orchestra re-entry ................................................. 19
Measure 266: Orchestra re-entry ................................................. 22
Measure 274............................................................................... 23
Measure 321............................................................................... 26
Measure 351............................................................................... 28
Measure 365: Orchestra re-entry ................................................. 29
Measure 384: Orchestra re-entry ................................................. 30
After measure 396: Begin cadenza................................................ 31
Measure 397: End Cadenza: Orchestra re-entry............................ 34
II. Andante...................................................................................... 35
Measure 22................................................................................. 35
Measure 55................................................................................. 38
Measure 82................................................................................. 41
III. Allegro vivace assai...................................................................... 43
Measure 22: Orchestra re-entry after optional eingang/cadenza...... 43
Measure 28: Tutti ....................................................................... 43
Measure 74, second division of the downbeat, at orchestra re-entry 45
Measure 110: orchestra re-entry .................................................. 46
Measure 162: Orchestra re-entry ................................................. 48
Measure 179: Orchestra re-entry after optional cadenza ................ 48
Measure 186: Tutti ..................................................................... 49
Measure 263: Orchestra re-entry................................................. 51
Measure 309............................................................................... 53
After Bar 425: Begin cadenza....................................................... 57
Measure 426: End cadenza.......................................................... 59
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measure of confusion hovers over the composition dates for Mozarts Piano Concerto
No. 21 in C Major, KV467. While Mozart
has been criticized for not keeping a cleaner and
more accurate catalogue of his works, one is tempted
to say, rather, that it is all the more remarkable he
came as close as he did in keeping his catalogue
even remotely systematized. After all, his output was
overwhelming and his composition-speed phenomenal. And, besideswhat if Mozart had indeed kept
a better, thoroughly accurate catalogue? How then
would the legion of Mozartian scholars these past
two centuries have spent their time and earned their
income?
The autograph manuscript of KV467, which
resides in the Morgan Library in New York, is dated
nel Febraio 1785 (in February 1785), while in
his catalogue Mozart had entered 9 March 1785.
This confusion can be easily settled if we assume
the February 1785 date refers to the month Mozart
began the composition while 9 March was the exact
date of completion. Since this latter date happened to
be the day before the works initial performance, on
10 March 1785, we can also assume Mozart worked
under the gun composing the concerto up to the very
last moment.
Which is all to say that Mozart must have composed this masterpiece of the piano concerto form
in a short span of about twenty-seven days. This
came right after the completion of his previous masterwork, the Piano Concerto No. 20 in D minor,
KV466, on 10 February. The almost total lack of
revisions in the autograph score of KV467 illustrates
for us what books and lectures about Mozart can
only hollowly scratch atthat this composers brilliance was of the most profound order. To realize
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tially a legless fortepiano that lay on the floor underneath his usual piano. He played it with the feet by
means of a pedal-board, very much like an organ is
played. Since Mozart was a skilled organist, playing
such an odd instrument must have come easily to
him.
Mozart set KV467 in the ceremonial key of C
major, which certainly helps to make this one of
the composers brightest pieces of music. Even in its
slow, much more reflective second movement, there
is an atmosphere of radiant sunshine, charmingly
dappled, which shines forth beautifully. And like
its immediate predecessor, the dark D-minor Piano
Concerto, KV466, it displays a much more symphonic character than his previous piano concerti.
The first movement is lacking a tempo in the autograph, though it is generally accepted as an Allegro
maestoso. Its in this movement that we can fleetingly
find one of the concertos rare somber moments;
this is during the piano solo at measure 91, when a
G-minor theme is introduced. This is a theme which
closely resembles the first theme of the composers
Symphony No. 40 in G minor, which the composer
came to write three years later. Mozart often used
this G-minor key to signify epic tragedy, which was
not at all the aura of KV467. This explains why the
G-minor theme is not heard again in the concerto, as
it is quickly banished by a series of piano runs that
lead to the happier and more appropriate key of G
major.
Unquestionably one of the most romantic movements in any piano concerto composed by Mozartor
by any other composer, for that matteris the second
movement of KV467, the dreamlike Andante. Here,
Mozart masterfully merges marked dissonances and
Douglas Scharmann
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II. Andante
I. (Allegro maestoso)
[This MMO edition utilizes the 1886 Bischoff edition as its source; Mozart left no cadenzas, and we reproduce this editions standard cadenzas by
Danish composer and pianist August Winding (1835-1899). However, the soloist chose to use Lipattis cadenza for the third movement, and we have
included that version in the Appendix on p. 61.]
*Wherever Andr is quoted, without special qualification, the score-edition is meant.
[Bischoff originally referred to pages from another edition; we have substituted the proper measure numbers in italics and brackets for easy reference.]
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CONCERTO
IN C MAJOR
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APPENDIX
CADENZA
TO THE 3RD MOVEMENT
BY
LIPATTI
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