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Ανέβηκε στις 25 Δεκ 2011
The Piano Concerto No. 27 in B flat
major, K. 595, is a concertante work by Wolfgang Amadeus Mozart, for
piano and orchestra. It is the last piano concerto he wrote. The
manuscript is dated 5 January 1791. However, Alan Tyson's analysis of
the paper on which Mozart composed the work indicated that Mozart used
this paper between December 1787 and February 1789, which implies
composition well before 1791. Simon Keefe has written that the
composition of the work dates from 1788. By contrast, Wolfgang Rehm has
stated that Mozart composed this concerto in late 1790 and early 1791.
Cliff Eisen has discussed the controversy over the time of composition
in his review of the published facsimile of the score. The work followed
by some years the series of highly successful concertos Mozart wrote
for his own concerts, and by the time of its premiere Mozart was no
longer so prominent a performer on the public stage. The concerto may
have been first performed at a concert on 4 March 1791 in Jahn's Hall by
Mozart and by a clarinetist Joseph Bähr. If so, this was Mozart's last
appearance in a public concert, as he took ill in September 1791 and
died on 5 December 1791. Another possibility is that it was premiered by
Mozart's pupil Barbara Ployer on the occasion of a public concert at
the Auersperg palace in January 1791. The work is scored for flute, two
oboes, two bassoons, two horns, solo piano and strings, which makes it
thinner than Mozart's other late concertos, all of which except for No.
23 have trumpet and timpani. It has the following three movements:
1. Allegro
2. Larghetto in E-flat major
3. Allegro
Although all three movements are in a major key, minor keys are suggested, as is evident from the second theme of the first movement (in the dominant minor), as well as the presence of a remote minor key in the early development of that movement and of the tonic minor in the middle of the Larghetto.
Another interesting characteristic of the work is its rather strong thematic integration of the movements, which would become ever more important in the nineteenth century. The principal theme of the Larghetto, for instance, is revived as the second theme of the final movement (in the 65th measure). The principal theme for finale was also used in Mozart's song "Sehnsucht nach dem Frühling" (also called "Komm, lieber Mai") , K. 596, which immediately follows this concerto in the Köchel catalogue.
Mozart wrote down his cadenzas for the first and third movements.
Simon Keefe has discussed the concerto in detail, with emphasis on the distinctive character and experiments in style of the concerto compared to Mozart's other concerti in this genre.
1. Allegro
2. Larghetto in E-flat major
3. Allegro
Although all three movements are in a major key, minor keys are suggested, as is evident from the second theme of the first movement (in the dominant minor), as well as the presence of a remote minor key in the early development of that movement and of the tonic minor in the middle of the Larghetto.
Another interesting characteristic of the work is its rather strong thematic integration of the movements, which would become ever more important in the nineteenth century. The principal theme of the Larghetto, for instance, is revived as the second theme of the final movement (in the 65th measure). The principal theme for finale was also used in Mozart's song "Sehnsucht nach dem Frühling" (also called "Komm, lieber Mai") , K. 596, which immediately follows this concerto in the Köchel catalogue.
Mozart wrote down his cadenzas for the first and third movements.
Simon Keefe has discussed the concerto in detail, with emphasis on the distinctive character and experiments in style of the concerto compared to Mozart's other concerti in this genre.
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