Martijn Hooning
OVERVIEW OF: MOZART PIANO CONCERTO
IN Eb MAJOR K 482, FIRST MOVEMENT
as an example of: concerto form
April 2012
1
–
realize: this is just one of the many possibilities to compose a concerto form.. and this is just
a schedule..
–
with the brackets [ and ] I indicate overlapping measures.
2
Measures
Section
1 – 76
ORCHESTRA EXPOSITION or: opening ritornello
1 – 31
first theme (or: first group)
1-13]
[13-31
keys
Eb
Usually both the first group of the orchestra exposition and the first group of
the solo exposition consist of at least one pretty long phrase. They may also
contain several phrases. I believe that is the case in this piece, as measure 31
seems to be a logical end of the first group (PAC in Eb major on the first beat
of 31, and after that: 'change of perspective' and some chromaticism).
The first group consists of several phrases, all overlapping, and all ending on
the tonic:
1–7
7 – 13
repeat
Groups of 7 mrs!
(3 + 4)
32 – 50
13 – 21
Group of 9 mrs!
(4 + 5)
21 – 31
Repeat with extension
Group of 11 mrs
extra overlap in 29,
so in fact: (4 + 5) + 3
transition (or: transition section)
Eb
In an orchestra exposition, the transition normally does not modulate, as the
second group is in the home key. (A modulation, or temporary tonicalization
of the dominant in major, or the relative in minor is possible though – in such
cases we see a modulation back to the home key in the beginning of the
second group).
32-35
This transition is not modulating, but we are heading clearly to the dominant
of Eb major: in measures 32-35 through a sequential pattern
I → VI / VI → IV / IV → II followed by (VII6) II6 (VII7) V
(and we observe chromaticism..) .
36-39
40-45
(extended
repeat)
46-50
51 – 76
From 36 we find a situation very similar to a dominant pedal point
(alternation between I and V, with emphasis on V).
In fact the second group could connect immediately after 45. Instead Mozart
adds some extra measures, with a standstill on V (horns!) smoothly
'introducing' the second group.
second group (or: second theme) and closing phrase
51-58
The second group starts with a group of eight measures (51-58) with periodic
structure (clearer in the harmony than in the motivic structure): an antecedent
of 4 measures, in the harmony alternating between I6 and V2 , and a
consequent with a clear PAC : moves from I through IV / II6 to I6/4 V7 I .
59-72
We could see these 8 measures as theme 2a, and the following 14 measures as
theme 2b.1 I would subdivide these measures (from 59) like this:
1 We could also, eventually, speak of 'closing section' from measure 59.
3
Eb
(
2
+ 2
)
+ ( 2
+
4
)
+ ( 2 + 2 )
motif and repeat,
second repeat, and close / IAC
extension
circling around I6 and IV
IAC
Especially the motivic struture of the first 10 measures very much looks like a
sentence...
73-76
I think we could call the last 4 measures a (pretty short) closing phrase (I
prefer to speak of 'closing phrase' here, as 'closing section' suggests a larger
entity). It is a simple parallel period, with IAC after two measure, and PAC at
the end.
Typically, the orchestra exposition ends with a clear PAC (like here) – right
before the soloist starts playing.
77 – 216 SOLO EXPOSITION
In the solo exposition noramlly new themes are introduced – especially in
Mozart's concertos this is common practice. So: a solo concerto often
contains more themes than a sonata form. And maybe this is one reason that
there is no repeat of one of the expositions (not to mention a repeat of both.;
that would be really some kind of 'overkill'). Maybe we could say that the fact
that we have two expositions is a 'repeat' in a way (though not literally of
course).
Quite often though, some elements (motives, phrases..) of the orchestra
expostion are 're-used' in the solo exposition. In this concerto we find some
repetitions of elements of the orchestra exposition in the solo exposition
indeed.
77-108]
77-94]
first group
Eb
The piano starts with a pretty long theme (18 measures), with periodic
structure2 . We could call this theme 1a:
------ antecedent ------------(
4
+
4
)
I → V4//3 V7 → (VII7) VI
quasi 'question and answer' :
when there would be no DC,
than we could hear these
8 measures as a period in
itself
----------------consequent----------------(
4
+
6
)
I6 IV V7 VI I I6 IV/II6/5 I6/4 V7 I
sounds also a bit like 'question and
answer', and could eventually be a period
in itself, as the first half is ending with DC,
and the second half with PAC.
The group of 6 measures is caused by the
'standstill' on I6/4.
Atypical: the pianist is playing alone! Normally the orchestra is delivering
some kind of accompaniment at least..
[94-108] After this theme 1a the orchestra is taking over (though the solist is involved
too). And here happens something that is very common in concertos: a section
/theme we know allready from another context is repeated at a different point
in the form: the very first theme of the piece is repeated – but this time it
appears as the second element of the first group, so: theme 2b.
2 This is typical: in most concertos we see that the first solo theme is a - often quite long - period.
4
Apart from the added arpeggiated chords in the piano this section is
unchanged compared with the first time (measures 1-13). Ending with PAC in
108 (and overlapping with the beginning of the transition)
[108-151
transition
Eb
[108-118] This time, in the solo exposition, the transition is modulating.3 But it takes
quite some time before we really leave the home key. In a first section of
eleven measures, with new motivic material, we are heading to the dominant
of the home key; and like in the tansition in the orchestra exposition, some
chromaticism is introduced:
(
4
+
5
)+
4
I V4/3 V7 I/(V7) → IV / II6 I6 VII6 / V7 I V7 I …(VII7) VI (V7) V Eb
[118-128] As the A natural is staying from measure 118 we could assume that we are
(→
slowly heading to the dominant key Bb major. Though we are probably not
Bb ?)
convinced yet... – even when the following eleven measures constantly
repeat the F-dominant7 and Bb major chords (combined with motivic repeats,
so for that matter these measures could very well be the end of the transition).
[128-140 After the unisono Bb major scale in 126-128 it turns out we were right to
assume something still had to happen, somehow; though we maybe did not
Bb
predict the disaster in measure 128?: suddenly we are in Bb minor here, and minor
it is now very clear that we indeed left the home key.
Measures 128-140 end on the dominant of Bb major (reached – very strong
confirmation – through the italian and/or german augmented, #IVdv6 /
#IVdv6/5 in measure 138.
The shortening process in these measures is interesting:
4
+ (
2
+
2
) + ( 1 + 1 ) +
2
variant of
repeat
further repeat 2nd repeat
end of previous
shortening
and 'conclusion'
group
I VII7 .. I6/I
141-152
153–198
V2 I6/I
V2 I6/I
V6/5 I V6/5 I
#IVdv6/(5) V
The rest of the transition is mainly a standstill on V (quasi pedal point). We
stay in Bb minor until the solist re-introduces the D natural in measure 150.
At the very end we reach the tonic Bb.
second group
Like often in sonata forms, normally the second group in a concerto form
consists of at least two elements, which we could label: theme 2a and theme
2b. Theme 2a often is periodic, and often has a lyrical character, whereas
theme 2b is not as thematically 'important'. It is often virtuosic, and includes
such things as broken triads, scale figures, etc. Probably for that reason
theme 2b is also called: bravura theme. The top voice of this bravura theme
'should' end on the root of the key (supported by I), preceded by a trill on the
second tone of the key (supported by V in the harmony), thus forming a PAC
3 A quite common procedure in solo expositions in general.
5
Bb
marking the end of the second group.
153–170 theme 2a
Bb
We hear a period of 8 measures (152-160) with some sentence-characteristics
(because of the repeat in the first 4 measures). These 8 measures are than
repeated and somewhat extended (161-170). The structure, from measure 153:
(
2
+
I / (V7) IV VII I
on tonic pedal
2
repeat
)
+
4
(V7) II → II6 I6/4 V7 I
And from 161 (repeat with two measures extension at the end):
( 2 + 2 ) + ( 4
+
2
)
repetition of
(V7) II V6/5 I II6 I6/4 (VII7) IV6 V6/5 I II6 I6/4 V7 I
153-156
to VI
(not coming)
171-198
theme 2b ('bravura' theme)
Bb
Mozart does the 'trick with the trill' twice, and therefore repeats the theme –
though the second time is much more elaborate than the first time.
The first phrase consists of seven measures (maybe 8, when we assume an
overlap in measure 170), and is constructed as follows:
(
2 + 2 ) +
3
V6/5 I V6/5 I
IV I6/4 V7 (with trill) I
repeat
The second time, from 179 the beginning of this pattern is more or less
repeated:
(
2
+
2
)
V6/5 V2 I6 V6/5 V2 I6
repeat
But from 183 (with upbeat) a new, sequential pattern starts, and this is
heading to a long-sustained I6/4:
(
4
+
2
)
+
11
(V6/5) VI (V6/5) IV (V6/5) II V7 VI I6 IV/II6
I6/4 ------------ → V7 I
with
long
trill
We could group the bars here also somewhat different; the impression of the
whole theme 2b is anyway that it is quite 'free', and almost creates the
impression of an improvisation.4
199-216
closing section (or: closing ritornello)
Bb
Though we are not at the end of the solo exposition yet, the trill-and-close at
the end of the second group is the point where the soloist stops playing. The
4 And probably it should create that impression: the soloist is 'showing off' here, making clear he is in charge and can
do 'everything' on his instrument..
6
orchestra typically plays the closing section alone.
Mozart re-uses material from the orchestra exposition again here, and places
it in a new formal context: the material is derived from theme 2b of the
orchestra exposition.5 The repeat is quite literal in fact..
The closing phrase of the orchestra exposition (73-76) is also repeated. We
might get the impression here that we go 'back' to a second group... Which is
not the case: the function of both sections is here to close the exposition. Or
should we reconsider the interpretation of measures 59-72, and label them as
part of the closing section after all?
217 – 263 DEVELOPMENT (OR: DEVELOPMENT SECTION)
Development sections in concerto forms often are less 'elaborate' than in
sonata forms, probably because too much motivic/thematic development
would mean that the roles of soloist and orchestra could get mixed too much.
Often the soloist plays the leading role, and the orchestra does a step back
and is just accompanying.
We can expect modulations though, and some motivic development. And a
dominant pedal point at the end.
I distinguish the following sections in this development:
217-221
A sort of 'introduction', using material of the closing section. It is modulating, Bb
in steps of thirds6 Right at the beginning there is a minor/major effect: a
minor
sudden change to the parallel minor key (Bb minor). Then we move up, using
this sequence:
Db
Bb minor:
I V
I
Db major: VI V
I
F minor: VI V
I
Ab major: VI V I
C minor: VI V I
The last sequence, in C minor, forms the upbeat for the following, much
larger, section:
222-248] In this section we modulate from C minor to Ab major, basically by means of
sequences:
4 + 4
+
4
+
4 + 2 + 2 + 2 + 2 + 3
c: I V7 I
(V7) IV
f: V7 I (VII4/3) IV
b flat: VII4/3 I (V2) IV6
Eb: V2 I6
c: V7 (VII7)
V
Bb: VII2md V7 (VII7) V
(enharm)
Ab: VII2md V7 I
(enharm)
F minor
Ab
major
C
minor
C
minor
F minor
Bb
minor
Eb
C
minor
5 See measures 59-72.
6 We have seen the opposite pattern, moving down in thirds before: see orchestra exposition, transition (from measure
32), and: bravura theme (from measure 182).
7
At the beginning we see a sequence of descending fifths, from C minor to Eb Bb
major. Then a 'turning point' as we go from Eb major back to C minor. At the
end we gmove down in seconds until Ab major is reached (the subdominant Ab
of the home key Eb major).
[248-263
Ab
At the beginning of the final section of the development it might look as if
'new' theme is introduced. I think though it is clearly derived from the second
theme of the solo exposition7 We modulate to Bb major here, the dominant of
the home key Eb (and maybe Bb is already recognizable as V here):
Bb
(
2
+
2
+
2
)
Ab: I
Eb: IV
I
II V7 I V6
Bb: I6
II7 V7 I
Eb
From measure 253 the Bb stays in the bass, and it becomes clear that we have
reached the pedal point (on V of the home key, though it may sound as I in the
beginning); from 254:
(
2
+
2
+
2
) +
4
Bb: VII7md I
VII7md I ---------------------repeat
Eb: V---------------------V7 / I6/4 / V7
And from here on, we head to the recapituation..
264 – 383 RECAPITULATION (and closing section / final ritornello)
In concerto forms a 'single' recapitulation is used – in contrast with the
double' exposition. The elements of the recapitulation are taken from both the
orchestra and the solo exposition, and 'regrouped'. Maybe the recapitulation
starts with the first theme of the orchestra exposition, maybe with the first
theme of the solo exposition. Maybe the second group is derived from both
solo and orchestra expositions. Etcetera...
264-294
first theme (or: first group)
Eb
264-276] Therecapitulation starts with a repeat of the beginning of the orchestra
exposition; at first the soloist does not take part – which is pretty unusual; one
[276-294 rather would expect that the soloist would get the opportunity to play this first
theme right from the start, as he did not play it yet...
From 272 the soloist joins in though. Apart from the changes caused by the
soloist, and changes in the instrumentation, the whole first group of the
orchestra exposition is repeated.
295-313
transition
Eb
295-298
299-302
303-309
(extended
repeat)
310-313
This is an almost literal repeat of the transition of the orchestra exposition –
which is very handy, because ther is no mdulation in the orchestra exposition
(and as we are now in the recapitualtion, we do not need a modulation to the
second group).
7 Compare from measure 153.
8
314-359
314-321
second group
Eb
theme 2a
The second group also starts like in the orchestra exposition (theme 2a) –
though theme 2a this time is played by the soloist. The antecedent of the first
group of eight measures is unchanged; the consequent is different, as it is
ending with deceptive cadence this time: from 317:
I6 / (V6/5) → IV, which is replaced by II6/5 I6/4 V VI
322-330
This time, theme 2a is repeated. The consequent of this repeat is also
changed, and one bar longer; from 326:
I6 (V6/5) IV I6/4
V7 I
(and the melody is different too).
theme 2b ('bravura' theme)
331-339
339-359
360-383
Eb
And now something unexpected is happening: From measure 331 Mozart
switches to the second group of the solo exposition, quoting theme 2a8, thus
changing the formal status of this element: it becomes theme 2b now! And
though it is starting as a quote of the solo exposition, it becomes clear pretty
soon that this time the theme is developing to a new 'bravura' theme. The
consequent (from measure 335) is already more virtuoso than in the solo
exposition, and the consequent of the repeat from measure 340 is developing
to something quite 'bravura', especially from measure 344, And this
consequent is much longer; in the harmony we go from I to II6/5 and through
(VII7) in 253 to I6/4 V7 (with long trill) and I .
closing section, developing to coda (or: final ritornello)
This closing section is starting like the closing section at the end of the solo
exposition, but from measure 264 it is changed, as we are heading to the
dominant this time: (V2) → IV6 … → I6/4 . And after this I6/4 the solo
cadenza starts.
This is a typical procedure: the harmony in the closing section is heading to a
cadential 6/4-chord, then the orchestra stops, and the soloist plays
(improvises..) his cadenza. In scores the cadenza is, like here, normally
indicated with a fermata (and sometimes with the term: cadenza).
A typical solo cadenza ends on the root of the key in the soprano, preceded by
a trill on the second tone of the key (on V). The orchestra enters for the last
time on the final I of the soloist, or (sometimes) on the dominant/trill.
The soloist stops playing after finishing his cadenza.
Mozart places his cadenzas within the closing section, whereas Haydn
normally still places them before the closing section.
After the cadenza the orchestra finishes the closing section / coda – with
material we meanwhile know quite well..
8 See from measure 153.
9
Eb