Piano concertos by Wolfgang Amadeus Mozart

2684: 661: 490: 1088:, theme C never appears again, while E and F only appear to close the entire movement. This flexibility is of particular importance in the recapitulation, which, though it invariably commences with a restatement of the first preludial theme, is no mere repetition of the preludial themes. Rather, it condenses and varies them so that the listener is not tired by simple reproduction. The genius of Mozart's mature movements, therefore, is to be able to manipulate a mass of thematic material without compromising the broader scale conception; and the listener, rather than being given the impression of "fiddling" with all the themes, instead is left with the ritornellic impression: Mozart truly uses "art to conceal art". 1552: 1705: 1875: 205: 134: 3789: 35: 1153: 4196: 624:

that the less learned cannot fail to be pleased, though without knowing why.... The golden mean of truth in all things is no longer either known or appreciated. In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it.

1653:, for example, has the view that the essential feature of the piano concerto is the contrast between the solo, accompanied, and tutti sections; and this psychological drama would have been ruined if the piano was effectively playing the whole time, albeit discreetly. In support of his case, Rosen argued that the published figured bass of 1871:

other embellished versions published early in the 19th century suggests that the expectation would be that especially slow movements would be embellished according to the taste or skill of the performer, and thus that the versions most commonly-heard today would not reflect how the original listeners in general experienced these works.

1368:; i.e., the structure is divided into a series of highly differentiated and distinct sections. However, such a structure does not lend itself to creating an overall unity in the movement, and Mozart thus attempts various ways (with greater or lesser success) of overcoming this problem. For example, he may have complex first themes ( 486:, wherein the concerto is divided into six sections. The keyboard parts of the concertos were almost invariably based on material presented in the ritornelli, and it was probably J. C. Bach, whom Mozart admired, who introduced the structural innovation of allowing the keyboard to introduce new thematic material in its first entry. 3008:, p. 31 are probably twofold. First, concertos as opposed to symphonies tended to be in the middle of concert programmes rather than opening them, so did not need to be so "attention grabbing"; secondly, a quiet orchestral opening allows the piano's solo entry in the exposition to balance the orchestra's opening better. 951:

in this section, as might be expected from sonata form, even though Mozart feels free to shift the sense of tonality around in this and other sections. The reason for this, as Tovey remarked, is that the purpose of the Prelude is to generate a sense of expectation leading towards the piano entry, and

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Despite their renown, the Mozart piano concertos are not without some detractors. Even amongst his mature examples, there are examples of movements that can be argued to fall short of his normally high standards. This is particularly true for some of the last movements, which can appear too light to

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The middle sections, as in much of Mozart's symphonic output, are typically short and rarely contain the sort of development associated with, in particular, Beethoven. In other words, Mozart normally generates his middle sections by shuffling, condensing and modulating his thematic material, but not

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In addition to the preludial and expositional themes, the exposition typically contains various free sections that show off the piano; but, contrary to the popular conception of the piano concerto, and to how it developed in the nineteenth century, these sections are not merely empty displays, but

1943:

The D-minor concerto has remained highly appreciated, but it now shares honors with many other of the concertos. Mozart's development of the piano concerto created a complex form that was arguably never surpassed. Of the later composers (especially after Beethoven, who noted Mozartian procedure),

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However, to many admirers of the concertos, it is exactly these sparse points that are so beautiful, and the establishment of the autographs as the texts for the concertos has made many pianists reluctant to depart from them. Nevertheless, the existence of these Mozartian additions and of several

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As far as modern practice goes, the matter is complicated by the very different instrumentation of today. The early fortepianos produced a more "orchestral" sound that blended easily into the orchestral background, so that discreet continuo playing could have the effect of strengthening the sonic

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is a not very well known work (Hutchings appears not to have liked it particularly, although Girdlestone ranks it highly). The first movement is broadly "symphonic" in structure and marks a further advance in the interactions between piano and orchestra. Records show that he completed it only one

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These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way

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are numbered from 1 to 27. The first four numbered concertos and three unnumbered concertos 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

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the blending of the piano and orchestra is harder to achieve in the studio than in the concert hall); hence, continuo playing by the soloist in recordings might be too intrusive and obvious for most tastes. Nevertheless, continuo playing has discreetly appeared in some modern recordings (of the

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Mozart's themes are cunningly employed, so that they fit together in various ways. Despite the formal advances in the prelude, the themes are often later used in different orders, so that a scheme of a prelude ABCDE might later become ABADA or something else. Some of the so-called "ritornellic"

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of the concertos, and possibly in other places as well. That this was Mozart's intention is implied by several lines of evidence. First, the piano part is placed in his autographs at the bottom of the score under the basses, rather than in the middle as in modern scores. Second, he wrote "CoB"

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If a complete sonata form were imposed on the Prelude, then it would take on a life of its own, so that when the piano entry occurs, it would be rather incidental to the overall structure. To express it in another way, in sonata form, the first group of subjects is linked to and generates an

556:. This work shows a decisive advance in the organisation of the first movement, as well as demonstrating some irregular features, such as the dramatic interruption of the orchestral opening by the piano after only one-and-a-half bars. The final concerto Mozart wrote before the end of his 1785:

was famous, and he often played from very sketchy piano parts. Furthermore, there are several very "bare" parts in the concerto scores that have led some to deduce that the performer is meant to improvise embellishments at these points, the most notorious being towards the end of the

1772:(which has no extant Mozart cadenzas); Hutchings complains that although they are the best option available, the genius of Beethoven shines through them and, by implication, this makes them a "piece within a piece" that tends to distract from the unity of the movements as a whole. 942:

However, while there are broad correspondences, this simple equation does not really do justice to the Mozartian scheme. For example, the piano concerto may well not include a well-defined second group of subjects in the prelude; and in particular, does not include a definitive

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in 1790. Philip Karl reported that Mozart embellished his slow movements "tenderly and tastefully once one way, once another according to the momentary inspiration of his genius", and he later (1803) published embellished Mozart slow movements to six of his later concertos (K.

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According to Leopold Mozart's somewhat ambiguous letter of 13 February 1785 to his daughter. Paradis, however, was not in Paris in late 1784—the earliest that the score could reasonably have reached her, and the concerto he refers to might be another one. See main article on

758:, again written within the same month. These two works, one the first minor-key concertos Mozart wrote (both K. 271 and 456 have a minor-key second movement) and a dark and stormy work, and the other sunny, are among Mozart's most popular. The final concerto of the year, 960:

rather belatedly. Conversely, in the Mozartian concept, the piano entry is always a moment of great importance, and he varies it considerably from concerto to concerto. The only exception to this rule is the dramatic intervention of the piano in the second bar of the

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In the works of his mature series, Mozart created a unique conception of the piano concerto that attempted to solve the ongoing problem of how thematic material is dealt with by the orchestra and piano. With the exception of the two exceptionally fine early concertos

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sections, so that we get a sense of return at each of these. Technically, therefore, the ritornello sections should only include themes that are introduced in the Prelude. In practice, however, Mozart allows himself to sometimes vary even this rule. For example, in

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Because Mozart was developing the form of his concertos as he wrote them and not following any preconceived "rules" (apart, presumably, from his own judgement of taste), many of the concertos contravene one or other of the generalisations given above. For example,

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onwards. In fact, Mozart's original piano was returned to Vienna in 2012 after a 200-year absence and was used in a concert shortly after its return. This is the same piano that Mozart kept at his home and brought through the streets for use at various concerts.

1855:, and an embellished part of the passage in question is preserved in St. Peters Archabbey, Salzburg (see location of autographs below); presumably the part he sent her. Mozart also wrote embellished versions of several of his piano sonatas, including the 648:, is an ambitious, perhaps even overambitious work, that introduces the first, military theme in a canon in an impressive orchestral opening: many consider the last movement the best. Like K. 414, it is paralleled by a later concerto in the same key, 858:

with orchestral accompaniment, twin traps that later composers were not always able to avoid. His resulting solutions are varied (none of the mature series is really similar to any of the others structurally on more than a broad level) and complex.

1744:) were extensively improvised by him during performance. However, against this must be set the fact that Mozart's own cadenzas are preserved for the majority of the concertos, and may have existed for others (e.g., the now missing cadenzas for 1759:

Opinion is sharply divided, with some commentators (notably Hutchings) strongly urging the use of Mozart's own cadenzas when available, and when they are not available, for cadenzas to be similar to Mozart's, especially as far as length goes

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These three concertos are all rather different from one another and are relatively intimate works despite the mock grandeur of the last one: indeed, arrangements exist for them for piano plus string quartet that lose little. The

817:, completed in February 1788, has a mixed reputation and possibly is the revision of a smaller chamber concerto into a larger structure. Despite its structural problems, it remains popular. Two fragments of piano concertos, 1867:. In all of these works, the embellishments appear in the first editions published under Mozart's guidance, with the suggestion that they represent examples of embellishments for lesser pianists than himself to follow. 1918:

calls the D-minor concerto "the most historically popular and influential" of all the concertos. He writes that "overtly dark, dramatic and impassioned", it was an antecedent of Beethoven and "appealed directly to the

1095:, and even more so, perforce, in the concertos for two and three pianos, the interaction between the two is limited, but the later concertos develop the subtle relations between them to a high degree; for example, in 984:

material, with as many as six or more well-defined themes being introduced. However, the concertos fall into two rather marked groups as to what sort of themes they possess. The most popular concertos, such as Nos.

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structure that is the basis for the Mozart piano concerto. Furthermore, when the soloist is directing the orchestra as well, as Mozart would have been, the addition of continuo would help keep the band together.

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Perhaps the most controversial aspect of the concertos is the extent to which Mozart (or other contemporary performers) would have embellished the piano part as written in the score. Mozart's own ability to

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and a Swedish officer has led to the concerto often being referred to as "Elvira Madigan" even today, when the film itself is largely forgotten. A partial list of the concertos in recent films includes:

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by taking a simple theme and genuinely developing it into new possibilities. However, as is the case with all generalisations involving his piano concertos, this can be overstated: the middle section of

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major, ushers in a period of creativity that has certainly never been surpassed in piano concerto production. From February 1784 to March 1786, Mozart wrote no fewer than 11 masterpieces, with another (

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issues in the last few decades has, however, led to a revival of the fortepiano, and several recordings now exist with an approximate reconstruction of the sound Mozart might have himself expected.

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for the double/triple concertos. The early harpsichord concertos available under the brand of MusicMasters Classics with Thomas Crawford as conductor and Orchestra of the Old Fairfield Academy.

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had been acquired in 1869. A few parts of André's collection remained for a long time in private hands; hence, in 1948, when Hutchings compiled the whereabouts of the autographs, two (Nos.

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in 1785). On the other hand, the cadenzas were not supplied as part of the concerto to the publishers, and it would no doubt have been expected that other pianists would supply their own.

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This passage points to an important principle about Mozart's concertos, that they were designed in the main to entertain the public rather than solely to satisfy some inner artistic urge.

1040:. Hutchings recognises these by labeling ritornello themes A, B, C etc., and expositional themes x, y etc. Mostly these are first introduced by the piano; but sometimes (e.g., theme y of 1487:

In larger settings, such as halls or the theatre (or indeed, outdoors), larger orchestral forces were possible, and indeed a requirement for the more richly scored concertos such as K.

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The form of Mozart's piano concerto first movements has generated much discussion, of which modern instances were initiated by the highly influential analysis provided by Tovey in his

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Their value as music and popularity does not rest upon their formal structure though but on the musical content. Mozart's piano concertos are filled with assured transition passages,

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Rather than the Prelude being a "preliminary canter" (Hutchings) of the themes of the concerto, its role is to introduce and familiarise us with the material that will be used in the

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Mozart's concertos were performed in his lifetime in a variety of settings, and the orchestra available no doubt varied from place to place. The more intimate works, for example, K.

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The qualities of the piano concertos have become more fully appreciated in the last 50 years or so. The list of notable names that have contributed cadenzas to the concertos (e.g.,

1384:). In general, Mozart's third movements are as varied as his first movements, and their relation to a "rondo" is sometimes as slender as having a first tune (refrain) that returns. 149:

compositions for solo piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held special importance for him .

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is another example. Manuscript evidence exists to suggest that embellishment did occur (e.g., an embellished version of the slow movement of No. 23, apparently by his gifted pupil

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Mozart's piano concertos have featured in the soundtracks to several films, with the slow movement of No. 21 (KV. 467) being the most popular. Its extensive use in the 1967 film

1591:, so that the balance between the orchestra and soloist may not easily be reproduced using modern instruments, especially when small orchestras are used. The rise in interest in 1567:. His earliest efforts from the mid-1760s were presumably for the harpsichord, but Broder showed in 1941 that Mozart himself did not use the harpsichord for any concerto from 2100:) are among the most recorded and popular classical works in the repertoire, and with the release of several complete recordings of the concertos in recent years, notably by 603:, in the Autumn of 1782, Mozart wrote a series of three concertos for his own use in subscription concerts. He did, however, write, in the spring of that year, a replacement 1669:

have argued that real performance practice by Mozart and his contemporaries would have been considerably more embellished than even the chords suggested by the figuration.

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Concerto No. 7 is for three (or two) pianos and orchestra, and No. 10 is for two pianos and orchestra, leaving 21 original concertos for one piano and orchestra.

1099:. His later concertos are truly described as concertos for "piano and orchestra" rather than the more obviously "piano" concertos of the nineteenth century (e.g., that of 52: 2668:

In the last 50 years, however, all of the extant autographs have made their way into libraries. The entire Prussian State collection of autographs was evacuated during

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The discography for Mozart's piano concertos is massive. In recent years, a number of (more or less) complete sets of the concertos have been released; these include:

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Finally, the vast majority of performances of Mozart piano concertos heard today are recorded rather than live, with the net effect of flattering the piano's sound (

797:, was the last of the regular series of concertos Mozart wrote for his subscription concerts. It is one of the most expansive of all classical concertos, rivaling 1111:

lacks new expositional material, and "merely" repeats the preludial material; further, it effectively merges the first ritornello and the middle section, as does

789:, which Hutchings regards as his finest effort. It is a dark and passionate work, made more striking by its classical restraint, and the final movement, a set of 2077:

that Mozart produced a truly great last movement. Similarly, a few of the slow movements have sometimes been considered repetitive (e.g., Hutchings' view of the

2123:. With these exceptions, Gutmann writes of Mozart that "all of his mature concertos have been acclaimed as masterpieces". For example, he says Mozart liked his 542: 1587:, instruments that Mozart much admired, were much more suitable for Mozart's purposes. The fortepianos were much quieter instruments than the modern concert 2920:

Mozart retained his links with the Mannheim musicians that he had established in his visits in 1777/1778, with one result being that his first great opera

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expectation of the second group, which would tend to detract attention away from the piano entry – a point that, as Tovey points out, was only grasped by

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was the first work from the last year of Mozart's life: it represents a return to form for Mozart in the genre. Its texture is sparse, intimate and even

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The first complete edition in print was not until that of Richault from around 1850; since then the scores and autographs have become widely available.

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to the eastern front, where they disappeared and were feared lost until the 1970s. At this point, they resurfaced in Poland and are now held in the

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One further point of great importance is the interaction between piano and orchestra. In the earlier concertos, such as the not totally successful

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This structure is rather easy to hear when listening, particularly because the ends of the exposition and recapitulation are typically marked with

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and K. 537b, in D major and D minor respectively, were also probably begun in this month, although perhaps earlier. Finally, the last concerto,

1990:, K. 503. In particular, these major works of Mozart could hardly fail to be influenced by his own first love, i. e., opera, and the Mozart of 1807:

In 1840, evidence was published from two brothers, Philipp Karl and Heinrich Anton Hoffmann, who had heard Mozart perform two concertos, Nos.

3556: 529:(Op 5. Nos. 2, 3, and 4, all composed by 1766). Based on handwriting analysis of the autographs they are believed to date from 1771 or 1772. 2012:

was not published in his lifetime, and the score was kept within his family and close circle of friends, whom he asked not to give it away.

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The performance of Mozart's concertos has become a topic of considerable focus in recent years, with various issues such as the size of the

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had written several keyboard concertos (meant for either harpsichord or piano) in the earlier galant style, but his last keyboard concerto,

977:, the first ritornello introduces a new theme, which, however, plays only a minor linking role between the restatements of the first theme. 85: 152:

For a long time relatively neglected, Mozart's piano concertos are recognised as among his greatest achievements. They were championed by

1184:, presumably to stress its pathetic nature rather than to dictate a particularly slow speed. Conversely, the slow movement of the sunny 447:, the keyboard part is elevated to the most prominent position among the instruments. These works, with their alternation of orchestral 3759: 3551: 1971:. This technical skill, combined with a complete command of his (admittedly rather limited) orchestral resources, in particular of the 67: 3536: 3531: 3205: 884:(piano, plus orchestra), ending in a trill in the dominant (for major key concertos) or the relative major (for minor key concertos) 588: 1120:. Several of the later concertos do not hesitate to introduce new material in the supposedly "ritornellic" sections, such as in K. 3764: 3004:

In the later concertos (e.g., Nos. 19–21, 23–24 and 26–27) typically opening quietly. The reasons for this, as Grayson discusses,

1361:. However, the simple refrain-episode-refrain-episode-refrain structure of a rondo does not escape Mozart's revising attentions. 3110: 2947: 3453: 725:, can be considered to form a group, as they all share certain features, such as the same rhythm in the opening (heard also in 17: 3403: 2112: 1194:, in keeping with the mood of the entire concerto. Hutchings gives the following list of movement types (slightly modified): 1164:

Mozart's second movements are varied, but may be broadly seen as falling into a few main categories. Most of them are marked

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in 1785, and Mozart and his father added figuration themselves to several of the concertos, such as the third piano part of

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to play, K. 449 is the first instrumental work by Mozart that shows the strong influence of his operatic writing. The next,

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also date from 1776 and are generally not regarded as demonstrating much of an advance, although No. 7 is quite well known.

3818: 584: 2039:, etc.) attests to this fact. Beethoven was clearly impressed by them: even if the anecdotal story about his comments to 92: 3483: 2711: 2255: 2238: 1975:

in the later concertos, allowed him to create a variety of moods at will, from the comic operatic nature of the end of

1044:) the orchestra plays this role. Sometimes the exposition starts with one of these new themes (in piano concertos Nos. 489: 3986: 3951: 3894: 3850: 3374: 3357: 3337: 3323: 3313: 3303: 3293: 3283: 3269: 3247: 3232: 118: 3792: 3566: 3561: 3498: 3396: 2926:

premiered in Munich in 1781: Charles Theodore commissioned it for a court carnival. For a biography of Fränzl, see

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strings with no wind), and that the "CoB" instruction was for cueing purposes. Conversely, other scholars, notably

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in Vienna, suggests that, for the theatre, there were 35 members of the orchestra, e.g., six first and six second

1400:, is much more obviously Mozartian, having been written considerably later and concurrently with Mozart's output. 3884: 3811: 2152: 564:

for two pianos: the presence of the second piano disturbs the "normal" structure of piano-orchestra interaction.

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is found throughout them. Mozart clearly valued the concertos, some of which he guarded carefully. For example,

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It seems likely, although it is not absolutely certain, that the piano would have retained its ancient keyboard

775:, one of the most consistently popular of his concertos, notable particularly for its poignant slow movement in 4128: 4119: 4111: 4101: 4096: 4091: 4080: 4075: 4070: 4065: 4054: 4049: 4044: 4033: 4022: 4004: 3999: 3994: 3970: 2688: 2658: 2638: 2502: 2491: 2480: 2476: 2472: 2468: 2453: 2434: 2411: 2166:. Nos. 7 and 10 have Denes Varjon as the other pianist (No. 7 in the arrangement for two pianos). Lacks K. 107. 2097: 2093: 2089: 2082: 2064: 2060: 2052: 2044: 2009: 1987: 1980: 1976: 1905: 1897: 1893: 1852: 1841: 1837: 1833: 1829: 1825: 1821: 1812: 1808: 1797: 1793: 1769: 1749: 1745: 1717: 1677: 1654: 1631: 1627: 1568: 1488: 1469: 1465: 1461: 1381: 1377: 1369: 1346: 1342: 1338: 1330: 1326: 1325:, the customary, rather light structure for the period. However, two of his most important finales, that to K. 1185: 1141: 1137: 1133: 1129: 1125: 1121: 1112: 1108: 1096: 1092: 1085: 1077: 1073: 1061: 1057: 1053: 1049: 1041: 1037: 1033: 1014: 1010: 1006: 1002: 998: 994: 990: 986: 974: 847: 822: 818: 814: 794: 786: 772: 759: 755: 751: 730: 726: 722: 718: 714: 706: 698: 683: 673: 665: 649: 645: 641: 633: 616: 561: 393: 387: 381: 375: 369: 357: 351: 345: 339: 327: 321: 315: 303: 291: 285: 279: 273: 261: 56: 2270:

is the other pianist in Nos. 7 and 10 (No. 7 in the arrangement for two pianos). No. 7 also for three pianos:

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A place where the addition of the piano to the orchestra is particularly common is in the last bars after the

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contributed several piano concertos shortly after Mozart's death that also clearly showed Mozart's influence.

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Recapitulation + final Ritornello = Recapitulation (piano concerto section first, sonata form section second).

3961: 3927: 3918: 3907: 3902: 2788: 2634: 2128: 2124: 2120: 1658: 1643: 1639: 1045: 839: 608: 553: 546: 534: 530: 521:) are orchestral and keyboard arrangements of sonata movements by other composers. The next three concertos ( 518: 514: 510: 506: 249: 243: 237: 225: 219: 2279: 2907:

1977. "On the authenticity of K Anh. C14.91 (297b), a Symphonia Concertante for Four Winds and Orchestra".

1864: 1860: 1408:'s first three concertos also show a Mozartian influence to a somewhat lesser extent; this is also true of 3653: 2904: 2440: 2349: 2291: 2250: 2185: 1856: 1666: 179: 3328:

Mozart, W. A. Piano Concerto No. 26 in D Major ("Coronation"), K. 537 – The Autograph Score. (New York:

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K. 365: Biblioteka Jagiellońska, Kraków. Mozart family copy, St Peter's, Salzburg; performance copy in

2425: 2392: 2313: 2275: 1915: 850:, all of his best examples are from later works. Mozart strives to maintain an ideal balance between a 744: 440: 157: 3108:

On March 25th and April 8th. But Leopold might not have been referring to these concertos – see e.g.,

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material of the prelude might indeed never appear again or only appear at the end. For example, in

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concertos nearly all introduce new thematic material in the piano exposition, the exceptions being

1029: 209: 3840: 3774: 3526: 3419: 3329: 2795: 2374:, played by Robert Levin (Nos. 1–5, 9, 11–20, 22–23 and 26). Concertos 1–4 played on harpsichord. 1433: 141: 45: 1476:

of an aristocratic music-lover: Mozart himself advertised them as possible to play "a quattro",

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published a structural and thematic analysis of the concertos in 1966, followed by the works by

4200: 3728: 3438: 2812: 2497: 2271: 2222: 2204: 1991: 1337:, and they are both generally considered among his best. In addition, three more concertos, K. 897: 1764:

short). The sorts of problems that exist are exemplified by the cadenzas written by the young

768:, is slightly less popular. Mozart is not known to have written cadenzas for these concertos. 3803: 3433: 3047: 2148: 2020: 1782: 1729: 1592: 1516: 1417: 1413: 526: 432: 2618: 1076:, for example, can be described as being a genuine development. In other concertos, such as 3718: 3493: 3463: 3220: 2729: 2704: 2673: 2622: 2588: 2055:, and his entire concerto production took its point of departure as the Mozartian concept. 1924: 1580: 1409: 957: 619:). This group of three concertos was described by Mozart to his father in a famous letter: 533:

from 1773 was his first real effort in the genre, and one that proved popular at the time.

163: 2945:, and for a discussion of the incomplete concerto including why it was not completed, see 2377:

EtCetera: Musicae Antiquae Collegium Varsoviense, conducted by Tadeusz Karolak, played by

2245:). There also the original J.C. Bach's three sonatas that inspired Piano Concertos K. 107. 771:

In 1786, Mozart managed to write two more masterpieces in one month, March: the first was

8: 3665: 3600: 3593: 3468: 3348: 3165: 2733: 2722: 2642: 2596: 2548: 2378: 2371: 2337: 2317: 1972: 933: 3587: 2759:

K. 414: Biblioteka Jagiellońska, Kraków. Mozart copy (incomplete), St Peter's, Salzburg.

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K. 413: Biblioteka Jagiellońska, Kraków. Mozart copy (incomplete), St Peter's, Salzburg.

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was error-strewn and thus not by Mozart; that Mozart's realisation of the figuration in

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that is absolutely integral to the music. An extant theatre almanac from 1782, from the

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Mozart composed 23 works (plus 7 arrangements) for piano and orchestra from 1773 to 1791

3659: 3571: 2988: 2822: 2750: 2540: 2208: 1956: 1900:, are in minor keys. The concertos in major keys were undervalued in the 19th century. 1622:, implying that the left hand should reproduce the bass part. Sometimes, this bass was 944: 881: 3318:

Mozart, W. A. Piano Concertos Nos. 23–27 in full score. Dover Publications, New York.

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Mozart, W. A. Piano Concertos Nos. 17–22 in full score. Dover Publications, New York.

3298:

Mozart, W. A. Piano Concertos Nos. 11–16 in full score. Dover Publications, New York.

2242: 2004: 952:

this must come from the music itself, not just from the title on the top of the page.

636:

in A major, the second of the series, is particularly fine: it is often described as "

3635: 3629: 3458: 3370: 3353: 3333: 3319: 3309: 3299: 3289: 3288:

Mozart, W. A. Piano Concertos Nos. 7–10 in full score. Dover Publications, New York.

3279: 3265: 3243: 3228: 3114: 2951: 2360: 1848: 1816: 1753: 1551: 1473: 1350: 1334: 1243: 790: 552:

Nine months after No. 8, however, Mozart produced one of his early masterpieces, the

686:) to follow in December 1786. The advance in technique and structure from the early 3733: 3641: 3521: 3448: 3278:

Mozart, W. A. Piano Concertos Nos. 1–6 in full score. Dover Publications, New York.

3257: 3111:"Cadenzas to Concertos K466 and K467--Did Mozart Compose Any? MozartForum Articles" 3071: 3055: 2614: 2580: 2448: 2397: 2259: 2234: 2215: 2189: 2073: 1964: 1701:

fortepiano) with success, or at least, lack of intrusion (see discography, below).

1364:

The difficulty for Mozart with the typical rondo structure is that it is naturally

948: 855: 467:, from which the first movements of Mozart's piano concertos inherited their basic 167: 3683: 2832: 2775:

K. 451: Biblioteka Jagiellońska, Kraków. Mozart family copy, St Peter's, Salzburg.

2765:

K. 449: Biblioteka Jagiellońska, Kraków. Mozart family copy, St Peter's, Salzburg.

2742:

K. 271: Biblioteka Jagiellońska, Kraków. Mozart family copy, St Peter's, Salzburg.

2739:

K. 246: Biblioteka Jagiellońska, Kraków. Mozart family copy, St Peter's, Salzburg.

2230: 2193: 2159: 2063:. Girdlestone considered that even popular movements such as the last movement to 1575:

Although early Viennese pianos were in general rather lackluster instruments, the

1018: 482:, who established the form, along with the three-movement concerto structure, and 3738: 3473: 3075: 2508: 2163: 2101: 2078: 2024: 1932: 1709: 1704: 1265: 1166: 875: 737:

and is famous in particular for its last movement. The next concerto, K. 456 in B

475: 428: 2821:

K. 537: Library of Congress, Washington, D.C. A facsimile has been published by

2680:. In addition, various copies used by Mozart and his family have come to light. 2237:; No. 7 for three: Zoltán Kocsis, Dezső Ránki and András Schiff (Nos. 7 and 10: 1401: 1392:

Mozart's large output of piano concertos put his influence firmly on the genre.

965:

Concerto, which is, however, minor enough not to disturb the overall structure.

576: 3834: 3623: 2459: 2341: 2306: 2287: 2263: 2174: 2071:

last movements, and he suggests that it was not until the last movement of the

2040: 1983: 1920: 1901: 1801: 1481: 1445: 1358: 734: 694: 580: 145: 1874: 587:

moved the court and orchestra to Munich after succeeding to the Electorate of

4210: 3769: 3695: 3689: 3615: 3362: 3343: 3059: 2516: 2486: 2283: 2267: 2181:

as the other pianist (No. 7 in the arrangement for two pianos). Lacks K. 107.

2105: 1914:, which she first performed in concert in 1857, 1863, and 1883 respectively. 1851:

in 1784 agreeing with her that something was missing in the slow movement of

1681: 1680:), but in practice pianists, if only to finish playing at the end, sometimes 1650: 1449: 1365: 1157: 1064:), but the exposition can also start by restating one of the prelude themes. 1022: 981: 912: 776: 637: 611:, a work that proved very popular (on October 19, 1782, he completed another 538: 420: 412: 175: 171: 204: 133: 3701: 3677: 3671: 3379: 2762:

K. 415: Biblioteka Jagiellońska, Kraków. Mozart copy, St Peter's, Salzburg.

2669: 2430: 2356: 2302: 2143:

DGG: Camerata Academica des Salzburger Mozarteums, conducted and played by

1998: 1623: 1604: 1584: 1532: 1492: 1441: 1393: 1373: 1354: 1234: 1230: 702: 456: 153: 3388: 2147:. Full set without Nos. 7 and 10 and the three arrangements of sonatas by 2144: 2115:

are only orchestrations of works by other composers; Gutmann calls these "

743:, was for a long time believed to have been written for the blind pianist 2696: 2524: 2295: 2197: 2108:, some of the less-well known concertos may also increase in popularity. 1968: 1588: 1564: 1512: 1496: 1199: 919: 747:

to play in Paris. Finally, K. 459, is sunny with an exhilarating finale.

2363:. Lacks the early harpsichord concertos and the double/triple concertos. 2320:. Lacks the early harpsichord concertos and the double/triple concertos. 2309:. Lacks the early harpsichord concertos and the double/triple concertos. 2067:

did not really satisfactorily solve the inherent structural problems of

2059:

balance the first two movements – an example being the last movement of

1740:

brief cadenza-like passages leading into returns of the main theme in a

871:. In broad terms, they consist of (using the terminology of Hutchings): 2345: 2325: 2211:. Double/triple concertos with English Chamber Orchestra. Lacks K. 107. 1689: 1576: 1190: 969: 888: 468: 444: 416: 1676:, where the orchestra in score plays to the end on its own (except in 1001:

tend to have well-marked themes. However, another group, such as Nos.

2972:

Letter from Mozart to his father from Vienna, dated 28 December 1782.

2630: 2610: 2178: 2116: 2036: 2016: 1765: 1429: 1405: 798: 2677: 2131:, written at age 17, and performed it through the rest of his life. 1986:" Andante from K. 467, through to the majestic expansiveness of his 34: 2948:"K315f (Anh 56) Concerto for Violin and Piano MozartForum Articles" 2922: 2715: 2662: 1904:'s concert repertoire contained only the D minor, the C minor, and 1878:

Portrait of Mozart. The painting is a 1777 copy of a work now lost.

1520: 1025:

in nature, i.e., he binds them together into a more unified whole.

851: 572: 557: 3129: 2214:

EMI Classics: English Chamber Orchestra, conducted and played by

2028: 1733: 1713: 1673: 1635: 1540: 1536: 1528: 1437: 1021:. As Mozart's art progressed, these themes sometimes become less 904: 826: 479: 460: 170:

in 1940 (originally published in French) and 1948, respectively.

525:), which are not numbered, are arrangements of piano sonatas by 2877:

K. 488: First movement (unusually, written into the autograph).

2833:

Concertos where Mozart's own cadenzas (and Eingänge) are extant

2769: 2654: 2646: 2626: 2556: 2464: 2032: 1945: 1618:– with the basses) in the lower stave of the piano part during 1500: 1171: 1160:, c. 1780. The portrait on the wall is of Mozart's mother. 687: 600: 537:

from 1776 is the first Mozart concerto proper to introduce new

483: 3833: 2725:, Washington, D.C. Mozart family copy in St Peter's, Salzburg. 2621:

in 1799, and most of these passed into the collections of the

832: 690:

examples is marked from the very first of this mature series.

3149:

Clara Schumann: An Artist's Life based on diaries and letters

2068: 1741: 1609: 1560: 1508: 1504: 1322: 1250: 1181: 1152: 1100: 450: 436: 1555:

Fortepiano by Paul McNulty after Walter & Sohn, ca. 1805

1036:, which, however, follows an unusual course after this, and 793:, is commonly called "sublime." The final work of the year, 2986:

and Ullrich, H. 1946. "Maria Theresia Paradis and Mozart".

2564: 1688:

output of the orchestra without (in effect) destroying the

1524: 1293:

Girdlestone puts the slow movements into five main groups:

1205: 1017:, the themes are less marked, and the overall effect is of 464: 3090: 2604: 2085:

in particular – an assessment later disputed by Grayson).

1028:

In addition to the ritornello thematic material, Mozart's

903:

Final Ritornello (orchestra, but always including a piano

459:

display, in turn, owe their structure to the tradition of

3242:. Cambridge Music Handbooks. Cambridge University Press. 3011: 2838:

K. 175: Two versions for each of the first two movements.

2687:

The opening page of the autograph manuscript of Mozart's

1928: 1796:– the end of the first subject of the second movement of 1068:

rather, short sections that fit into the overall scheme.

785:, the only work he wrote in the key. He followed it with 2282:. Concertos 1–4: Vienna Capella Academica, conducted by 1559:

All of Mozart's mature concertos were concertos for the

1380:), or rhythmic and other variation of the theme itself ( 1321:

Mozart's third movements are generally in the form of a

1268:(Rondo, marked Romance without further Tempo Indication) 554:"Jenamy" (formerly "Jeunehomme") concerto, No. 9, K. 271 411:

Early keyboard concertos were written by, among others,

1752:

are possibly mentioned by his father in letters to his

1649:

On the other hand, this view is not entirely accepted.

2887:

Cadenzas to at least K. 466 and 467 may have existed.

4184: 3170: 3023: 2841:

K. 246: Two for first movement, three for the second.

1952:

as expressed in the formal structure of these works.

1452:

of the written piano part all coming under scrutiny.

2732:, Kraków. Other copies: Staatsbibliothek zu Berlin; 2665:; a few others were scattered around other museums. 1935:(WoO 16), and Clara Schumann wrote cadenzas for it. 1732:(see next section) has led many to suggest that the 2791:, Vienna. Mozart family copy, St Peter's, Salzburg. 1387: 59:. Unsourced material may be challenged and removed. 3367:A Structural Analysis of Mozart's Piano Concertos 2747:Státní Zámek a Zahrady (State Gardens and Castle) 2695:The list of locations of the autographs given by 2301:Philips: English Chamber Orchestra, conducted by 854:with occasional piano solos and a virtuoso piano 615:, possibly intended as an alternative ending for 4208: 2121:Concerto for three (or two) pianos and orchestra 1979:, through to the dream-like state of the famous 750:The year 1785 is marked by the contrasting pair 4174:List of compositions by Wolfgang Amadeus Mozart 3332:in association with Dover Publications, 1991). 2218:. Lacks the double/triple concertos and K. 107. 1938: 200:List of compositions by Wolfgang Amadeus Mozart 3072:"Mozart's piano is heard in concert in Vienna" 2871:K. 456: Two for first movement, one for third. 2674:Biblioteka Jagiellońska (Jagiellonian Library) 2229:, played by Derek Han. No. 10 for two pianos: 1626:too, for example in the early edition of Nos. 1170:, but he himself marked at least the poignant 664:The opening page of Wolfgang Amadeus Mozart's 569:concerto for piano and violin, K. Anh. 56/315f 3819: 3404: 3385:, vol. 3, Concertos. Oxford University Press. 1646:, where Mozart even realised the figuration. 1423: 918:It is tempting to equate this structure with 640:", and stands some comparison with the later 579:(violin). The project was abandoned when the 448: 3151:, McMillan, London, 1913, vol. 2 pp. 442–52. 2710:K. 175: Autograph lost; Mozart family copy: 1491:. In particular, the later concertos have a 1147: 541:material in the piano's first solo section. 474:A similar structure can also be seen in the 68:"Piano concertos by Wolfgang Amadeus Mozart" 3418: 2868:K. 453: Two for first and second movements. 2396:about a doomed love story between a Danish 2162:, Matyas Antal and Ildiko Hegyi, played by 2088:Today, at least three of these works (Nos. 1882: 1316: 862: 833:The Mozartian concept of the piano concerto 240:("Lodron") for three pianos (February 1776) 4217:Piano concertos by Wolfgang Amadeus Mozart 3826: 3812: 3411: 3397: 3161: 3159: 3157: 2200:concertos and the double/triple concertos. 2158:Naxos: Concentus Hungaricus, conducted by 1661:was for use in highly reduced orchestras ( 1353:, with the second theme modulating to the 3369:. Institute of Medieval Music, New York. 3256: 3206:International Music Score Library Project 3189: 3135: 3041:Broder, N. 1941. "Mozart and the 'clavier 3017: 594: 575:in November 1778 for himself (piano) and 497: 119:Learn how and when to remove this message 2828:K. 595: Biblioteka Jagiellońska, Kraków. 2778:K. 453: Biblioteka Jagiellońska, Kraków. 2682: 2381:. Early concertos played on harpsichord. 1873: 1703: 1550: 1261:K. 459: Sonata (but without development) 1151: 1132:, or, indeed, in the middle section (K. 659: 488: 203: 132: 3962:No. 7 in F major for 3 Pianos, K. 242 ( 3885:Three Concertos after J.C. Bach, K. 107 3580: 3262:A Companion to Mozart's Piano Concertos 3237: 3176: 3154: 3096: 3029: 3005: 2768:K. 450: Thüringische Landesbibliothek, 2605:Location of autographs of the concertos 2119:." Gutmann also calls "simplistic" the 710:week after the previous work (K. 450). 14: 4209: 3352:, expanded edition. Norton, New York. 2853:K. 414: All movements, two for second. 3807: 3392: 894:Middle Section (piano plus orchestra) 655: 208:Edition of Mozart piano concertos by 3240:Mozart Piano Concertos Nos 20 and 21 1472:, were ideal for performance in the 599:About 18 months after he arrived in 193: 57:adding citations to reliable sources 28: 2850:K. 413: First and second movements. 2818:K. 503: Staatsbibliothek zu Berlin. 2801:K. 482: Staatsbibliothek zu Berlin. 2784:K. 459: Staatsbibliothek zu Berlin. 2781:K. 456: Staatsbibliothek zu Berlin. 2629:in 1873. Other autographs owned by 2613:of the concertos owned by Mozart's 2256:Academy of St. Martin in the Fields 922:, but with a double exposition; so 701:, shows a reversion to an earlier, 591:in 1777, and Fränzl stayed behind. 24: 2880:K. 595: First and third movements. 2874:K. 459: First and third movements. 2865:K. 451: First and third movements. 2862:K. 450: First and third movements. 2847:K. 365: First and third movements. 2239:Hungarian State Symphony Orchestra 1283:K. 503: Sonata without development 980:The prelude is invariably rich in 808: 188: 25: 4228: 2691:, K. 537, in Mozart's handwriting 2051:was clearly inspired by Mozart's 146:concertos for piano and orchestra 4194: 4169:About the Mozart piano concertos 3788: 3787: 3648:Maria Anna Thekla Mozart (Bäsle) 2653:was owned by F. A. Grassnick in 2463:(1984) the fictionalised Mozart 2324:Notable (more or less) complete 1775: 1598: 1388:Similar works by other composers 390:("Coronation", 24 February 1788) 33: 3765:Beethoven–Haydn–Mozart Memorial 3195: 3182: 3141: 3102: 2787:K. 466: Bibliothek und Archiv, 2385: 1892:Among all concertos, only two, 1887: 1640:No. 7 for three pianos (K. 242) 605:rondo finale in D major, K. 382 159:Essay on the Classical Concerto 44:needs additional citations for 3064: 3035: 2998: 2975: 2966: 2914: 2897: 2844:K. 271: Two for each movement. 2134: 571:exists that Mozart started in 286:No. 13 in C major, K. 415/387b 280:No. 12 in A major, K. 414/385p 274:No. 11 in F major, K. 413/387a 13: 1: 2789:Gesellschaft der Musikfreunde 848:K. 414 (the "little A major") 634:Piano Concerto No. 12, K. 414 3674:(paternal great-grandfather) 3517:Concert arias, songs, canons 1939:Fuller, post-1900 assessment 1923:taste of the 19th century." 1847:Mozart himself wrote to his 1455: 1349:can be regarded as being in 1239:K. 449: strophic binary aria 1226:K. 414: strophic binary aria 1223:K. 413: strophic binary aria 7: 4120:No. 26 in D major, K. 537 ( 3654:Franz Xaver Wolfgang Mozart 3636:Maria Anna Mozart (Nannerl) 3264:. Oxford University Press. 2641:) were in the hands of the 2292:Amsterdam Baroque Orchestra 2251:The Complete Mozart Edition 1863:; and the slow movement of 1857:Dürnitz Sonata, K. 284/205b 1723: 929:Exposition = 2nd exposition 644:. The last of these three, 178:, and Daniel N. Leeson and 10: 4233: 3977:major for 2 Pianos, K. 365 3919:No. 8 in C major, K. 246 ( 3383:Essays in Musical Analysis 3214: 2984:Maria Theresia von Paradis 2705:Staatsbibliothek zu Berlin 2359:, conducted and played by 2316:, conducted and played by 2314:Lausanne Chamber Orchestra 2294:, conducted and played by 2280:Katia and Marielle Labèque 2207:, conducted and played by 2173:, conducted and played by 1906:No. 10 for two pianos in E 1794:No. 23 in A major (K. 488) 1792:-minor second movement of 1736:and Eingänge ("lead-ins", 1424:Performance considerations 1080:, there is no such thing. 756:K. 467 (No. 21 in C major) 752:K. 466 (No. 20 in D minor) 745:Maria Theresia von Paradis 733:). K. 453 was written for 713:The next three concertos, 560:period was the well-known 441:Fifth Brandenburg Concerto 406: 197: 4164: 4143: 4110: 4102:No. 25 in C major, K. 503 4097:No. 24 in C minor, K. 491 4092:No. 23 in A major, K. 488 4076:No. 21 in C major, K. 467 4071:No. 20 in D minor, K. 466 4066:No. 19 in F major, K. 459 4050:No. 17 in G major, K. 453 4045:No. 16 in D major, K. 451 4013: 4005:No. 13 in C major, K. 415 4000:No. 12 in A major, K. 414 3995:No. 11 in F major, K. 413 3985: 3950: 3893: 3849: 3783: 3760:Mozart in popular culture 3747: 3711: 3614: 3572:Relationship with G minor 3507: 3426: 2171:English Chamber Orchestra 1898:No. 24 in C minor, K. 491 1894:No. 20 in D minor, K. 466 1798:No. 24 in C minor, K. 491 1148:Second movement structure 815:K. 537 (the "Coronation") 613:rondo, in A major, K. 386 567:Finally, a fragment of a 388:No. 26 in D major, K. 537 382:No. 25 in C major, K. 503 376:No. 24 in C minor, K. 491 370:No. 23 in A major, K. 488 352:No. 21 in C major, K. 467 346:No. 20 in D minor, K. 466 340:No. 19 in F major, K. 459 322:No. 17 in G major, K. 453 316:No. 16 in D major, K. 451 3903:No. 5 in D major, K. 175 3489:Appearance and character 3225:Mozart's Piano Concertos 3202:36 Cadenzas, K. 624/626a 3138:, p. 206, footnote. 2909:Mozart-Jarbuch 1976/1977 2890: 2883:K. 624/626a: 36 Cadenzas 2368:Academy of Ancient Music 2334:English Baroque Soloists 2081:in general, and that to 1883:Assessment and reception 1579:made by Mozart's friend 1546: 1484:accompanying the piano. 1317:Third movement structure 926:Prelude = 1st exposition 863:First movement structure 773:No. 23 in A major K. 488 642:A major concerto, K. 488 493:The young Mozart in 1770 439:. Earlier still, in the 258:("Jenamy", January 1777) 244:No. 8 in C major, K. 246 238:No. 7 in F major, K. 242 220:No. 5 in D major, K. 175 3880:No. 4 in G major, K. 41 3875:No. 3 in D major, K. 40 3859:No. 1 in F major, K. 37 3841:Wolfgang Amadeus Mozart 3775:Mozart Monument, Vienna 3420:Wolfgang Amadeus Mozart 3330:Pierpont Morgan Library 3238:Grayson, David (1998). 2859:K. 449: First movement. 2796:Pierpont Morgan Library 2730:Biblioteka Jagiellońska 2712:Archabbey of St Peter's 2125:first original concerto 1859:; the slow movement of 1815:(K. 459 and K. 537) in 1607:role in the orchestral 1280:K. 491: Romanza (Rondo) 1220:K. 365: Binary dialogue 562:Concerto No. 10, K. 365 246:("Lützow") (April 1776) 142:Wolfgang Amadeus Mozart 4015:Major Vienna concertos 3987:Early Vienna concertos 3851:Childhood arrangements 3668:(paternal grandfather) 3060:10.1093/mq/XXVII.4.422 2856:K. 415: All movements. 2813:Royal College of Music 2806:Bibliothèque Nationale 2692: 2661:by D. N. Heinemann in 2623:Prussian State Library 2272:Berliner Philarmoniker 2223:Philharmonia Orchestra 2205:Philharmonia Orchestra 1948:paid attention to his 1879: 1720: 1556: 1161: 900:(piano plus orchestra) 693:Written for his pupil 669: 626: 595:Early Vienna concertos 547:Concerto No. 8, K. 246 543:Concerto No. 7, K. 242 535:Concerto No. 6, K. 238 531:Concerto No. 5, K. 175 498:Early Mozart concertos 494: 449: 212: 210:Breitkopf & Härtel 162:in 1903, and later by 138: 18:Mozart piano concertos 3048:The Musical Quarterly 2689:Piano Concerto No. 26 2686: 2177:. Nos. 7 and 10 have 1988:Piano Concerto No. 25 1877: 1718:Piano Concerto No. 20 1707: 1593:authentic performance 1554: 1255:K. 453: Aria (Sonata) 1155: 1086:Piano Concerto No. 19 975:Piano Concerto No. 19 666:Piano Concerto No. 23 663: 621: 545:for three pianos and 492: 433:Johann Baptist Wanhal 270:for two pianos (1779) 207: 136: 3567:Compositional method 3547:Works for solo piano 3147:Litzmann, Berthold, 3117:on 26 September 2007 2441:The Spy Who Loved Me 2328:recordings include: 2290:. Concertos K. 107: 2278:, also pianist with 2221:Brilliant Classics: 2113:first four concertos 1728:Mozart's fame as an 1410:Carl Maria von Weber 803:fifth piano concerto 502:Concertos Nos. 1–4 ( 164:Cuthbert Girdlestone 53:improve this article 3666:Johann Georg Mozart 3601:Neue Mozart-Ausgabe 3594:Alte Mozart-Ausgabe 3349:The Classical Style 3227:. Cassell, London. 3188:In his foreword to 3099:, pp. 104–108. 2989:Music & Letters 2935:on 25 November 2006 2734:Stanford University 2723:Library of Congress 2643:Wittgenstein family 2597:The Death of Stalin 2379:Viviana Sofronitsky 2372:Christopher Hogwood 2338:John Eliot Gardiner 2318:Christian Zacharias 760:K. 482 (No. 22 in E 672:The next concerto, 336:(30 September 1784) 3895:Salzburg concertos 3660:Karl Thomas Mozart 3221:Girdlestone, C. M. 2903:Leeson, D. N. and 2823:Dover Publications 2693: 2619:Johann Anton André 2617:were purchased by 2549:Le Goût des autres 2541:The Way of the Gun 2355:Channel Classics: 2209:Vladimir Ashkenazy 2196:. Lacks the early 2186:Camerata Academica 2047:is legendary, his 1967:relationships and 1880: 1721: 1708:The manuscript of 1557: 1274:K. 482: Variations 1258:K. 456: Variations 1162: 670: 668:in A major, K. 488 656:Major Vienna works 495: 366:(16 December 1785) 348:(10 February 1785) 342:(11 December 1784) 268:major, K. 365/316a 213: 139: 4182: 4181: 3952:Concertos for two 3801: 3800: 3630:Anna Maria Mozart 3610: 3609: 3258:Hutchings, Arthur 3078:. 8 November 2012 3020:, pp. 16–17. 2753:, Czech Republic. 2407:Funeral in Berlin 2361:Jos van Immerseel 2153:K. 107/1, 2 and 3 2083:No. 20 in D minor 1817:Frankfurt am Main 1770:No. 20 in D minor 1351:rondo-sonata form 1271:K. 467: Irregular 1186:No. 19 in F major 1109:K. 488 in A major 1093:No. 13 in C major 1034:K. 488 in A major 932:Middle section = 523:K. 107/1, 2 and 3 478:of, for example, 455:and passages for 384:(4 December 1786) 300:(9 February 1784) 194:List of concertos 129: 128: 121: 103: 16:(Redirected from 4224: 4199: 4198: 4197: 4190: 4134: 4133: 4086: 4085: 4060: 4059: 4039: 4038: 4028: 4027: 3976: 3975: 3954:and three pianos 3933: 3932: 3913: 3912: 3869: 3868: 3844: 3843: 3828: 3821: 3814: 3805: 3804: 3791: 3790: 3680:(brother-in-law) 3642:Constanze Mozart 3588:Köchel catalogue 3578: 3577: 3562:Violin concertos 3413: 3406: 3399: 3390: 3389: 3275: 3253: 3208: 3204:: Scores at the 3199: 3193: 3186: 3180: 3174: 3168: 3163: 3152: 3145: 3139: 3133: 3127: 3126: 3124: 3122: 3113:. Archived from 3106: 3100: 3094: 3088: 3087: 3085: 3083: 3068: 3062: 3044: 3039: 3033: 3027: 3021: 3015: 3009: 3002: 2996: 2979: 2973: 2970: 2964: 2963: 2961: 2959: 2950:. Archived from 2944: 2942: 2940: 2931:. Archived from 2918: 2912: 2901: 2581:Superman Returns 2449:They All Laughed 2398:tightrope walker 2260:Neville Marriner 2216:Daniel Barenboim 2074:Jupiter Symphony 1911: 1910: 1791: 1790: 1177: 1176: 1118: 1117: 782: 781: 765: 764: 742: 741: 681: 680: 585:Charles Theodore 454: 402:(5 January 1791) 399: 398: 363: 362: 333: 332: 309: 308: 297: 296: 267: 266: 255: 254: 231: 230: 168:Arthur Hutchings 124: 117: 113: 110: 104: 102: 61: 37: 29: 21: 4232: 4231: 4227: 4226: 4225: 4223: 4222: 4221: 4207: 4206: 4205: 4201:Classical music 4195: 4193: 4185: 4183: 4178: 4160: 4156:A major, K. 386 4151:D major, K. 382 4139: 4131: 4130: 4112:Later concertos 4106: 4083: 4082: 4057: 4056: 4036: 4035: 4025: 4024: 4009: 3981: 3973: 3972: 3953: 3946: 3934:major, K. 271 ( 3930: 3929: 3910: 3909: 3889: 3866: 3865: 3845: 3839: 3838: 3835:Piano concertos 3832: 3802: 3797: 3779: 3743: 3724:Catholic Church 3707: 3704:(sister-in-law) 3698:(sister-in-law) 3692:(sister-in-law) 3686:(mother-in-law) 3606: 3576: 3542:Piano concertos 3503: 3422: 3417: 3272: 3250: 3217: 3212: 3211: 3200: 3196: 3187: 3183: 3175: 3171: 3164: 3155: 3146: 3142: 3134: 3130: 3120: 3118: 3109: 3107: 3103: 3095: 3091: 3081: 3079: 3076:BBC News Online 3070: 3069: 3065: 3042: 3040: 3036: 3028: 3024: 3016: 3012: 3003: 2999: 2980: 2976: 2971: 2967: 2957: 2955: 2946: 2938: 2936: 2929:"Ignatz Franzl" 2927: 2919: 2915: 2902: 2898: 2893: 2835: 2607: 2600:(2017) – No. 23 2592:(2011) – No. 23 2584:(2006) – No. 21 2576:(2005) – No. 23 2568:(2002) – No. 23 2560:(2001) – No. 23 2552:(2000) – No. 21 2544:(2000) – No. 23 2536:(1996) – No. 25 2528:(1994) – No. 21 2520:(1993) – No. 25 2512:(1991) – No. 21 2509:Regarding Henry 2498:Pacific Heights 2444:(1977) – No. 21 2421:(1966) – No. 23 2388: 2370:, conducted by 2366:L'Oiseau-Lyre: 2336:, conducted by 2274:, conducted by 2258:, conducted by 2243:János Ferencsik 2241:, conducted by 2225:, conducted by 2188:, conducted by 2137: 2005:Die Zauberflöte 1941: 1908: 1907: 1890: 1885: 1788: 1787: 1778: 1726: 1655:No. 13 (K. 415) 1601: 1569:No. 12 (K. 414) 1549: 1458: 1434:instrumentation 1426: 1390: 1319: 1289:K. 595: Romanza 1286:K. 537: Romanza 1277:K. 488: Ternary 1174: 1173: 1150: 1115: 1114: 865: 835: 823:No. 27 (K. 595) 813:The next work, 811: 809:Later concertos 795:No. 25 (K. 503) 779: 778: 762: 761: 739: 738: 719:No. 18 (K. 456) 715:No. 17 (K. 453) 707:No. 16 (K. 451) 699:No. 15 (K. 450) 678: 677: 674:No. 14 (K. 449) 658: 597: 500: 476:violin concerto 409: 396: 395: 378:(24 March 1786) 360: 359: 330: 329: 324:(12 April 1784) 318:(22 March 1784) 312:(15 March 1784) 306: 305: 294: 293: 264: 263: 252: 251: 228: 227: 222:(December 1773) 202: 196: 191: 189:Piano concertos 125: 114: 108: 105: 62: 60: 50: 38: 23: 22: 15: 12: 11: 5: 4230: 4220: 4219: 4204: 4203: 4180: 4179: 4177: 4176: 4171: 4165: 4162: 4161: 4159: 4158: 4153: 4147: 4145: 4144:Concert rondos 4141: 4140: 4138: 4137: 4126: 4116: 4114: 4108: 4107: 4105: 4104: 4099: 4094: 4089: 4078: 4073: 4068: 4063: 4052: 4047: 4042: 4031: 4019: 4017: 4011: 4010: 4008: 4007: 4002: 3997: 3991: 3989: 3983: 3982: 3980: 3979: 3968: 3958: 3956: 3948: 3947: 3945: 3944: 3925: 3916: 3905: 3899: 3897: 3891: 3890: 3888: 3887: 3882: 3877: 3872: 3861: 3855: 3853: 3847: 3846: 3831: 3830: 3823: 3816: 3808: 3799: 3798: 3796: 3795: 3784: 3781: 3780: 3778: 3777: 3772: 3767: 3762: 3757: 3751: 3749: 3745: 3744: 3742: 3741: 3736: 3731: 3726: 3721: 3715: 3713: 3709: 3708: 3706: 3705: 3699: 3693: 3687: 3681: 3675: 3669: 3663: 3657: 3651: 3650:(first cousin) 3645: 3639: 3633: 3627: 3624:Leopold Mozart 3620: 3618: 3612: 3611: 3608: 3607: 3605: 3604: 3597: 3590: 3584: 3582: 3575: 3574: 3569: 3564: 3559: 3554: 3549: 3544: 3539: 3534: 3529: 3527:Horn concertos 3524: 3519: 3513: 3511: 3505: 3504: 3502: 3501: 3496: 3491: 3486: 3481: 3476: 3471: 3466: 3461: 3456: 3451: 3446: 3441: 3436: 3430: 3428: 3424: 3423: 3416: 3415: 3408: 3401: 3393: 3387: 3386: 3377: 3360: 3341: 3326: 3316: 3306: 3296: 3286: 3276: 3270: 3254: 3248: 3235: 3216: 3213: 3210: 3209: 3194: 3190:Hutchings 1997 3181: 3169: 3153: 3140: 3136:Hutchings 1997 3128: 3101: 3089: 3063: 3034: 3032:, p. 114. 3022: 3018:Hutchings 1997 3010: 2997: 2974: 2965: 2954:on 27 May 2009 2913: 2895: 2894: 2892: 2889: 2885: 2884: 2881: 2878: 2875: 2872: 2869: 2866: 2863: 2860: 2857: 2854: 2851: 2848: 2845: 2842: 2839: 2834: 2831: 2830: 2829: 2826: 2819: 2816: 2809: 2802: 2799: 2792: 2785: 2782: 2779: 2776: 2773: 2766: 2763: 2760: 2757: 2754: 2743: 2740: 2737: 2726: 2719: 2708: 2703:K: 37, 39–41: 2606: 2603: 2602: 2601: 2593: 2585: 2577: 2569: 2561: 2553: 2545: 2537: 2529: 2521: 2513: 2505: 2494: 2483: 2456: 2445: 2437: 2426:Elvira Madigan 2422: 2414: 2393:Elvira Madigan 2387: 2384: 2383: 2382: 2375: 2364: 2353: 2342:Malcolm Bilson 2322: 2321: 2310: 2307:Mitsuko Uchida 2299: 2288:Ingrid Haebler 2286:and played by 2276:Semyon Bychkov 2264:Alfred Brendel 2262:and played by 2246: 2219: 2212: 2201: 2192:and played by 2182: 2175:Murray Perahia 2167: 2156: 2136: 2133: 2129:fifth (K. 175) 2049:third concerto 2041:Ferdinand Ries 1984:Elvira Madigan 1940: 1937: 1902:Clara Schumann 1889: 1886: 1884: 1881: 1802:Barbara Ployer 1777: 1774: 1750:No. 21, K. 467 1746:No. 20, K. 466 1725: 1722: 1678:No. 24, K. 491 1659:No. 8 (K. 246) 1644:No. 8 (K. 246) 1605:basso continuo 1600: 1597: 1548: 1545: 1482:string quartet 1457: 1454: 1440:, role of the 1425: 1422: 1420:, and others. 1389: 1386: 1359:relative major 1335:variation form 1318: 1315: 1291: 1290: 1287: 1284: 1281: 1278: 1275: 1272: 1269: 1262: 1259: 1256: 1253: 1247: 1240: 1237: 1227: 1224: 1221: 1218: 1215: 1212: 1211:K. 242: Sonata 1209: 1202: 1178:minor (K. 488) 1149: 1146: 1097:No. 16, K. 451 940: 939: 936: 930: 927: 909: 908: 901: 898:Recapitulation 895: 892: 885: 879: 864: 861: 834: 831: 810: 807: 787:No. 24, K. 491 735:Barbara Ployer 695:Barbara Ployer 684:No. 25, K. 503 657: 654: 650:No. 21, K. 467 646:No. 13, K. 415 617:No. 12, K. 414 596: 593: 499: 496: 408: 405: 404: 403: 391: 385: 379: 373: 372:(2 March 1786) 367: 355: 354:(9 March 1785) 349: 343: 337: 325: 319: 313: 301: 289: 283: 277: 271: 259: 247: 241: 235: 234:(January 1776) 223: 195: 192: 190: 187: 127: 126: 41: 39: 32: 9: 6: 4: 3: 2: 4229: 4218: 4215: 4214: 4212: 4202: 4192: 4191: 4188: 4175: 4172: 4170: 4167: 4166: 4163: 4157: 4154: 4152: 4149: 4148: 4146: 4142: 4136: 4135:major, K. 595 4127: 4125: 4123: 4118: 4117: 4115: 4113: 4109: 4103: 4100: 4098: 4095: 4093: 4090: 4088: 4087:major, K. 482 4079: 4077: 4074: 4072: 4069: 4067: 4064: 4062: 4061:major, K. 456 4053: 4051: 4048: 4046: 4043: 4041: 4040:major, K. 450 4032: 4030: 4029:major, K. 449 4021: 4020: 4018: 4016: 4012: 4006: 4003: 4001: 3998: 3996: 3993: 3992: 3990: 3988: 3984: 3978: 3969: 3967: 3965: 3960: 3959: 3957: 3955: 3949: 3943: 3941: 3937: 3926: 3924: 3922: 3917: 3915: 3914:major, K. 238 3906: 3904: 3901: 3900: 3898: 3896: 3892: 3886: 3883: 3881: 3878: 3876: 3873: 3871: 3862: 3860: 3857: 3856: 3854: 3852: 3848: 3842: 3836: 3829: 3824: 3822: 3817: 3815: 3810: 3809: 3806: 3794: 3786: 3785: 3782: 3776: 3773: 3771: 3770:Mozart effect 3768: 3766: 3763: 3761: 3758: 3756: 3753: 3752: 3750: 3746: 3740: 3737: 3735: 3732: 3730: 3727: 3725: 3722: 3720: 3717: 3716: 3714: 3710: 3703: 3700: 3697: 3696:Aloysia Weber 3694: 3691: 3690:Josepha Weber 3688: 3685: 3684:Cäcilia Weber 3682: 3679: 3676: 3673: 3670: 3667: 3664: 3661: 3658: 3655: 3652: 3649: 3646: 3643: 3640: 3637: 3634: 3631: 3628: 3625: 3622: 3621: 3619: 3617: 3613: 3603: 3602: 3598: 3596: 3595: 3591: 3589: 3586: 3585: 3583: 3579: 3573: 3570: 3568: 3565: 3563: 3560: 3558: 3555: 3553: 3550: 3548: 3545: 3543: 3540: 3538: 3535: 3533: 3530: 3528: 3525: 3523: 3520: 3518: 3515: 3514: 3512: 3510: 3506: 3500: 3497: 3495: 3492: 3490: 3487: 3485: 3482: 3480: 3477: 3475: 3472: 3470: 3467: 3465: 3462: 3460: 3457: 3455: 3452: 3450: 3447: 3445: 3442: 3440: 3437: 3435: 3432: 3431: 3429: 3425: 3421: 3414: 3409: 3407: 3402: 3400: 3395: 3394: 3391: 3384: 3381: 3378: 3376: 3375:0-912024-80-1 3372: 3368: 3364: 3361: 3359: 3358:0-393-04020-8 3355: 3351: 3350: 3345: 3342: 3339: 3338:0-486-26747-4 3335: 3331: 3327: 3325: 3324:0-486-23600-5 3321: 3317: 3315: 3314:0-486-23599-8 3311: 3307: 3305: 3304:0-486-25468-2 3301: 3297: 3295: 3294:0-486-41165-6 3291: 3287: 3285: 3284:0-486-44191-1 3281: 3277: 3273: 3271:0-19-816708-3 3267: 3263: 3259: 3255: 3251: 3249:0-521-48475-8 3245: 3241: 3236: 3234: 3233:0-304-30043-8 3230: 3226: 3222: 3219: 3218: 3207: 3203: 3198: 3191: 3185: 3179:, p. 60. 3178: 3173: 3167: 3166:Peter Gutmann 3162: 3160: 3158: 3150: 3144: 3137: 3132: 3116: 3112: 3105: 3098: 3093: 3077: 3073: 3067: 3061: 3057: 3053: 3050: 3049: 3038: 3031: 3026: 3019: 3014: 3007: 3001: 2994: 2991: 2990: 2985: 2978: 2969: 2953: 2949: 2934: 2930: 2925: 2924: 2917: 2910: 2906: 2900: 2896: 2888: 2882: 2879: 2876: 2873: 2870: 2867: 2864: 2861: 2858: 2855: 2852: 2849: 2846: 2843: 2840: 2837: 2836: 2827: 2824: 2820: 2817: 2814: 2810: 2807: 2803: 2800: 2797: 2793: 2790: 2786: 2783: 2780: 2777: 2774: 2771: 2767: 2764: 2761: 2758: 2755: 2752: 2748: 2744: 2741: 2738: 2735: 2731: 2727: 2724: 2720: 2717: 2713: 2709: 2706: 2702: 2701: 2700: 2698: 2690: 2685: 2681: 2679: 2675: 2671: 2666: 2664: 2660: 2656: 2652: 2648: 2644: 2640: 2636: 2632: 2628: 2624: 2620: 2616: 2612: 2599: 2598: 2594: 2591: 2590: 2586: 2583: 2582: 2578: 2575: 2574: 2573:The New World 2570: 2567: 2566: 2562: 2559: 2558: 2554: 2551: 2550: 2546: 2543: 2542: 2538: 2535: 2534: 2533:The Associate 2530: 2527: 2526: 2522: 2519: 2518: 2517:Boxing Helena 2514: 2511: 2510: 2506: 2504: 2500: 2499: 2495: 2493: 2489: 2488: 2484: 2482: 2478: 2474: 2470: 2466: 2462: 2461: 2457: 2455: 2451: 2450: 2446: 2443: 2442: 2438: 2436: 2432: 2428: 2427: 2423: 2420: 2419: 2415: 2413: 2409: 2408: 2404: 2403: 2402: 2399: 2395: 2394: 2380: 2376: 2373: 2369: 2365: 2362: 2358: 2354: 2351: 2347: 2343: 2339: 2335: 2331: 2330: 2329: 2327: 2319: 2315: 2311: 2308: 2304: 2300: 2297: 2293: 2289: 2285: 2284:Eduard Melkus 2281: 2277: 2273: 2269: 2268:Imogen Cooper 2265: 2261: 2257: 2253: 2252: 2247: 2244: 2240: 2236: 2232: 2231:Zoltán Kocsis 2228: 2224: 2220: 2217: 2213: 2210: 2206: 2202: 2199: 2195: 2194:András Schiff 2191: 2187: 2183: 2180: 2176: 2172: 2168: 2165: 2161: 2160:András Ligeti 2157: 2154: 2150: 2146: 2142: 2141: 2140: 2132: 2130: 2126: 2122: 2118: 2114: 2109: 2107: 2103: 2099: 2095: 2091: 2086: 2084: 2080: 2076: 2075: 2070: 2066: 2062: 2056: 2054: 2050: 2046: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2013: 2011: 2007: 2006: 2001: 2000: 1995: 1994: 1989: 1985: 1982: 1978: 1974: 1970: 1966: 1962: 1958: 1953: 1951: 1947: 1936: 1934: 1930: 1926: 1922: 1917: 1916:Peter Gutmann 1913: 1912:major, K. 365 1903: 1899: 1895: 1876: 1872: 1868: 1866: 1862: 1858: 1854: 1850: 1845: 1843: 1839: 1835: 1831: 1827: 1823: 1818: 1814: 1810: 1805: 1803: 1799: 1795: 1784: 1776:Improvisation 1773: 1771: 1767: 1763: 1757: 1755: 1751: 1747: 1743: 1739: 1735: 1731: 1719: 1715: 1711: 1706: 1702: 1699: 1694: 1691: 1685: 1683: 1679: 1675: 1670: 1668: 1664: 1660: 1656: 1652: 1651:Charles Rosen 1647: 1645: 1641: 1637: 1633: 1629: 1625: 1621: 1617: 1612: 1611: 1606: 1599:Continuo role 1596: 1594: 1590: 1586: 1582: 1578: 1573: 1570: 1566: 1562: 1553: 1544: 1542: 1538: 1534: 1533:natural horns 1530: 1526: 1522: 1518: 1514: 1510: 1506: 1502: 1498: 1494: 1490: 1485: 1483: 1479: 1475: 1471: 1467: 1463: 1453: 1451: 1450:improvisation 1447: 1443: 1439: 1435: 1431: 1421: 1419: 1415: 1411: 1407: 1403: 1399: 1395: 1385: 1383: 1379: 1375: 1371: 1367: 1362: 1360: 1356: 1352: 1348: 1344: 1340: 1336: 1332: 1328: 1324: 1314: 1312: 1308: 1304: 1300: 1296: 1288: 1285: 1282: 1279: 1276: 1273: 1270: 1267: 1263: 1260: 1257: 1254: 1252: 1248: 1245: 1241: 1238: 1236: 1232: 1228: 1225: 1222: 1219: 1216: 1213: 1210: 1207: 1203: 1201: 1197: 1196: 1195: 1193: 1192: 1187: 1183: 1179: 1169: 1168: 1159: 1158:Mozart family 1154: 1145: 1143: 1139: 1135: 1131: 1127: 1123: 1119: 1110: 1104: 1102: 1098: 1094: 1089: 1087: 1081: 1079: 1075: 1069: 1065: 1063: 1059: 1055: 1051: 1047: 1043: 1039: 1035: 1031: 1026: 1024: 1020: 1016: 1012: 1008: 1004: 1000: 996: 992: 988: 983: 978: 976: 971: 966: 964: 959: 953: 950: 946: 937: 935: 931: 928: 925: 924: 923: 921: 916: 914: 906: 902: 899: 896: 893: 890: 886: 883: 880: 877: 874: 873: 872: 870: 860: 857: 853: 849: 845: 843: 830: 828: 824: 820: 816: 806: 804: 800: 796: 792: 788: 784: 774: 769: 767: 757: 753: 748: 746: 736: 732: 728: 724: 720: 716: 711: 708: 704: 700: 696: 691: 689: 685: 675: 667: 662: 653: 651: 647: 643: 639: 635: 629: 625: 620: 618: 614: 610: 606: 602: 592: 590: 586: 582: 578: 574: 570: 565: 563: 559: 555: 550: 548: 544: 540: 536: 532: 528: 524: 520: 516: 512: 508: 505: 491: 487: 485: 481: 477: 472: 470: 466: 462: 458: 453: 452: 446: 442: 438: 434: 430: 426: 422: 418: 414: 413:C. P. E. Bach 401: 400:major, K. 595 392: 389: 386: 383: 380: 377: 374: 371: 368: 365: 364:major, K. 482 356: 353: 350: 347: 344: 341: 338: 335: 334:major, K. 456 326: 323: 320: 317: 314: 311: 310:major, K. 450 302: 299: 298:major, K. 449 290: 287: 284: 281: 278: 275: 272: 269: 260: 257: 256:major, K. 271 248: 245: 242: 239: 236: 233: 232:major, K. 238 224: 221: 218: 217: 216: 211: 206: 201: 186: 183: 181: 177: 176:Charles Rosen 173: 172:Hans Tischler 169: 165: 161: 160: 155: 150: 147: 143: 135: 131: 123: 120: 112: 101: 98: 94: 91: 87: 84: 80: 77: 73: 70: – 69: 65: 64:Find sources: 58: 54: 48: 47: 42:This article 40: 36: 31: 30: 27: 19: 4168: 4121: 3963: 3939: 3935: 3920: 3870:major, K. 39 3755:Georg Nissen 3702:Sophie Weber 3678:Joseph Lange 3672:Franz Mozart 3599: 3592: 3541: 3494:Pet starling 3382: 3380:Tovey, D. F. 3366: 3363:Tischler, H. 3347: 3261: 3239: 3224: 3197: 3184: 3177:Grayson 1998 3172: 3148: 3143: 3131: 3121:26 September 3119:. Retrieved 3115:the original 3104: 3097:Grayson 1998 3092: 3080:. Retrieved 3066: 3051: 3046: 3037: 3030:Grayson 1998 3025: 3013: 3006:Grayson 1998 3000: 2992: 2987: 2977: 2968: 2956:. Retrieved 2952:the original 2937:. Retrieved 2933:the original 2921: 2916: 2908: 2905:Levin, R. D. 2899: 2886: 2699:in 1997 is: 2694: 2670:World War II 2667: 2608: 2595: 2587: 2579: 2571: 2563: 2555: 2547: 2539: 2531: 2523: 2515: 2507: 2496: 2485: 2458: 2447: 2439: 2431:Bo Widerberg 2429:(1967), the 2424: 2416: 2405: 2391: 2389: 2386:Use in films 2357:Anima Eterna 2350:Robert Levin 2340:, played by 2323: 2305:, played by 2303:Jeffrey Tate 2249: 2227:Paul Freeman 2138: 2110: 2087: 2072: 2057: 2014: 2003: 1999:Don Giovanni 1997: 1992: 1954: 1942: 1921:romanticized 1891: 1888:19th century 1869: 1846: 1806: 1779: 1761: 1758: 1737: 1727: 1716:to Mozart's 1697: 1695: 1686: 1671: 1667:Robert Levin 1662: 1648: 1619: 1615: 1608: 1602: 1585:Anton Walter 1574: 1563:and not the 1558: 1486: 1480:with just a 1477: 1459: 1427: 1402:Joseph Wölfl 1394:Joseph Haydn 1391: 1374:contrapuntal 1363: 1329:, and to K. 1320: 1310: 1306: 1302: 1298: 1294: 1292: 1217:K. 271: Aria 1214:K. 246: Aria 1189: 1165: 1163: 1105: 1090: 1082: 1070: 1066: 1027: 979: 967: 962: 954: 941: 917: 910: 868: 866: 841: 836: 812: 770: 749: 723:No. 19 (459) 712: 703:galant style 692: 671: 630: 627: 622: 598: 577:Ignaz Fränzl 566: 551: 501: 473: 410: 214: 184: 180:Robert Levin 158: 154:Donald Tovey 151: 140: 130: 115: 109:January 2018 106: 96: 89: 82: 75: 63: 51:Please help 46:verification 43: 26: 4129:No. 27 in B 4081:No. 22 in E 4055:No. 18 in B 4034:No. 15 in B 4023:No. 14 in E 3971:No. 10 in E 3729:Freemasonry 3454:Nationality 3434:Biographies 3054:, 422–432; 2939:25 November 2798:, New York. 2697:Cliff Eisen 2525:Silent Fall 2296:Ton Koopman 2235:Dezső Ránki 2198:harpsichord 2190:Sándor Végh 2135:Discography 1969:suspensions 1961:dissonances 1957:modulations 1861:K. 332/300k 1589:grand piano 1577:fortepianos 1565:harpsichord 1515:; pairs of 1497:Burgtheater 1414:J.N. Hummel 1398:No. 11 in D 1376:treatment ( 1200:Sonata form 1113:K. 449 in E 1019:homogeneity 934:development 920:sonata form 915:or shakes. 891:(orchestra) 878:(orchestra) 394:No. 27 in B 358:No. 22 in E 328:No. 18 in B 304:No. 15 in B 292:No. 14 in E 288:(1782–1783) 276:(1782–1783) 262:No. 10 in E 4122:Coronation 3936:Jeunehomme 3928:No. 9 in E 3908:No. 6 in B 3864:No. 2 in B 3712:Influences 3557:Symphonies 3444:Grand tour 3439:Birthplace 3082:9 November 2995:, 224–233. 2772:, Germany. 2611:autographs 2433:version – 2418:Incompreso 2346:Melvyn Tan 2326:fortepiano 2312:MD&G: 2164:Jenő Jandó 1965:Neapolitan 1950:classicism 1730:improviser 1690:ritornello 1418:John Field 1307:meditative 1244:Variations 1191:Allegretto 1188:is marked 970:ritornello 963:Jeunehomme 945:modulation 889:Ritornello 882:Exposition 842:Jeunehomme 791:variations 469:ritornello 445:J. S. Bach 417:J. C. Bach 250:No. 9 in E 226:No. 6 in B 198:See also: 79:newspapers 3719:Beethoven 3464:Scatology 3459:Residence 3427:Biography 3344:Rosen, C. 3074:(video). 2815:, London. 2649:, whilst 2631:Otto Jahn 2501:(1990) – 2490:(1987) – 2452:(1981) – 2410:(1966) – 2248:Philips ( 2179:Radu Lupu 2149:J.C. Bach 2145:Géza Anda 2117:juvenilia 2037:Schnittke 2025:Landowska 2017:Beethoven 1973:woodwinds 1925:Beethoven 1783:improvise 1766:Beethoven 1682:accompany 1642:, and to 1616:col Basso 1541:timpanist 1539:, with a 1521:clarinets 1493:wind band 1456:Orchestra 1430:orchestra 1406:Beethoven 1333:, are in 1246:with coda 958:Beethoven 799:Beethoven 527:J.C. Bach 463:operatic 425:Wagenseil 4211:Category 4132:♭ 4084:♭ 4058:♭ 4037:♭ 4026:♭ 3974:♭ 3931:♭ 3911:♭ 3867:♭ 3793:Category 3638:(sister) 3632:(mother) 3626:(father) 3581:Editions 3469:Smallpox 3260:(1997). 2923:Idomeneo 2911:, 70–96. 2811:K. 491: 2808:, Paris. 2804:K. 488: 2794:K. 467: 2751:Kroměříž 2736:Library. 2728:K. 242: 2721:K. 238: 2716:Salzburg 2663:Brussels 2589:The Lady 2332:Archiv: 2079:Romanzas 1909:♭ 1789:♯ 1734:cadenzas 1724:Cadenzas 1537:trumpets 1529:bassoons 1511:; three 1507:; three 1446:continuo 1438:cadenzas 1432:and its 1366:strophic 1355:dominant 1264:K. 466: 1249:K. 451: 1242:K. 450: 1229:K. 415: 1204:K. 238: 1198:K. 175: 1175:♯ 1116:♭ 1023:strophic 982:thematic 949:dominant 856:fantasia 852:symphony 840:K. 271 ( 780:♯ 763:♭ 740:♭ 679:♭ 638:Tyrolean 573:Mannheim 558:Salzburg 539:thematic 429:Schobert 397:♭ 361:♭ 331:♭ 307:♭ 295:♭ 265:♭ 253:♭ 229:♭ 3748:Related 3739:Salieri 3552:Sonatas 3215:Sources 2469:Nos. 10 2460:Amadeus 2344:, with 2203:Decca: 2184:Decca: 2102:Philips 2029:Britten 1714:cadenza 1674:cadenza 1636:Artaria 1624:figured 1503:; four 1501:violins 1442:soloist 1299:romance 1266:Romanza 1231:Ternary 1208:-sonata 1167:Andante 1103:etc.). 947:to the 905:cadenza 876:Prelude 827:elegiac 819:K. 537a 589:Bavaria 581:Elector 480:Vivaldi 461:Baroque 407:Origins 156:in his 93:scholar 4187:Portal 3964:Lodron 3940:Jenamy 3921:Lützow 3644:(wife) 3616:Family 3537:Operas 3532:Masses 3522:Dances 3484:Prague 3479:Berlin 3373: 3365:1988. 3356: 3346:1997. 3336: 3322: 3312: 3302: 3292: 3282: 3268: 3246: 3231: 3223:1997. 2958:27 May 2770:Weimar 2678:Kraków 2659:No. 26 2655:Berlin 2647:Vienna 2627:Berlin 2557:Vidocq 2503:No. 19 2492:No. 25 2487:Barfly 2479:, and 2465:biopic 2454:No. 27 2435:No. 21 2412:No. 23 2169:Sony: 2127:, his 2065:No. 23 2061:No. 16 2053:No. 24 2045:No. 24 2043:about 2033:Brahms 2021:Hummel 2010:No. 23 1993:Figaro 1977:K. 453 1946:Brahms 1933:Brahms 1896:, and 1865:K. 457 1853:K. 451 1849:sister 1840:, and 1754:sister 1710:Brahms 1620:tuttis 1610:tuttis 1535:; and 1527:, and 1517:flutes 1513:basses 1509:cellos 1505:violas 1468:, and 1436:, the 1382:K. 449 1378:K. 459 1370:K. 595 1309:, and 1295:galant 1182:Adagio 1140:, and 1128:, and 1078:No. 16 1074:No. 25 1060:, and 1042:No. 19 1038:K. 537 1030:mature 1013:, and 913:trills 887:First 766:major) 731:K. 451 727:K. 415 721:, and 688:Vienna 601:Vienna 484:Viotti 471:form. 282:(1782) 95: 88: 81: 74: 66: 3734:Haydn 3662:(son) 3656:(son) 3509:Music 3499:Death 3474:Italy 3052:XXVII 2891:Notes 2651:No. 5 2615:widow 2106:Naxos 2069:rondo 1944:only 1931:58), 1762:i.e., 1742:rondo 1698:i. e. 1663:i. e. 1581:Stein 1561:piano 1547:Piano 1525:oboes 1478:i. e. 1474:salon 1323:rondo 1311:minor 1303:dream 1251:Rondo 1233:with 1101:Grieg 869:Essay 783:minor 609:No. 5 465:arias 451:tutti 437:Haydn 421:Soler 100:JSTOR 86:books 3449:Name 3371:ISBN 3354:ISBN 3334:ISBN 3320:ISBN 3310:ISBN 3300:ISBN 3290:ISBN 3280:ISBN 3266:ISBN 3244:ISBN 3229:ISBN 3123:2007 3084:2012 2960:2009 2941:2006 2657:and 2637:and 2609:The 2565:Spun 2348:and 2233:and 2111:The 2104:and 2096:and 2002:and 1811:and 1768:for 1748:and 1738:i.e. 1583:and 1448:and 1345:and 1235:coda 1206:Aria 1180:one 1156:The 997:and 846:and 754:and 729:and 676:in E 607:for 517:and 457:solo 435:and 166:and 72:news 3837:by 3056:doi 3045:". 2676:in 2645:in 2625:in 2254:): 1929:WoO 1844:). 1842:595 1838:503 1834:491 1830:488 1826:482 1822:467 1804:). 1634:by 1489:503 1470:415 1466:414 1462:413 1444:as 1372:), 1357:or 1347:467 1343:451 1339:450 1331:491 1327:453 1144:). 1142:488 1138:459 1134:453 1130:491 1126:488 1122:459 801:'s 443:by 144:'s 55:by 4213:: 3938:/ 3156:^ 2993:27 2749:, 2714:, 2639:21 2481:22 2477:20 2475:, 2473:15 2471:, 2467:– 2266:. 2155:). 2098:23 2094:21 2092:, 2090:20 2035:, 2031:, 2027:, 2023:, 2019:, 1996:, 1963:, 1959:, 1836:, 1832:, 1828:, 1824:, 1813:26 1809:19 1712:' 1684:. 1632:13 1628:11 1543:. 1531:; 1523:, 1519:, 1464:, 1416:, 1412:, 1341:, 1313:. 1305:, 1301:, 1297:, 1136:, 1124:, 1062:25 1058:24 1056:, 1054:22 1052:, 1050:20 1048:, 1015:27 1011:22 1009:, 1007:16 1005:, 1003:11 999:23 995:21 993:, 991:20 989:, 987:19 907:). 829:. 805:. 717:, 705:. 652:. 583:, 519:41 515:40 513:, 511:39 509:, 507:37 504:K. 431:, 427:, 423:, 419:, 415:, 182:. 4189:: 4124:) 3966:) 3942:) 3923:) 3827:e 3820:t 3813:v 3412:e 3405:t 3398:v 3340:. 3274:. 3252:. 3192:. 3125:. 3086:. 3058:: 3043:' 2962:. 2943:. 2825:. 2718:. 2707:. 2635:6 2298:. 2151:( 1981:" 1927:( 1786:F 1760:( 1630:– 1614:( 1172:F 1046:9 844:) 777:F 122:) 116:( 111:) 107:( 97:· 90:· 83:· 76:· 49:. 20:)

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Piano concertos by Wolfgang Amadeus Mozart

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