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Mozart - Piano Concerto No. 21 in C major, K. 467

 

Eighteenth-century concert scene by Nicolas Lancret illustrating the musical culture of Mozart’s time.
The Concert by Nicolas Lancret reflects the social charm and growing popularity of public concerts in the eighteenth century.

Wolfgang Amadeus Mozart wrote most of his piano concertos for his own performances and for his pupils. In 1785 alone, he composed three piano concertos, among them Piano Concerto No. 21 in C major, which he premiered in Vienna in March of that year.

The piano concerto represents Mozart’s most decisive contribution to instrumental music. In this genre, he established a balance between soloist and orchestra that became a model for future generations. Later composers—most notably Ludwig van Beethoven—studied, emulated, and expanded upon Mozart’s concerto style. Much of the concerto’s popularity throughout the nineteenth century can be traced directly to Mozart’s mature works in this form.

Μovements:

I. Allegro maestoso

The opening movement begins with a stately, march-like theme in the strings. The entrance of the woodwinds lends the music a ceremonial, almost military character. When the piano first appears, it does so discreetly, blending into the orchestral texture rather than asserting immediate dominance.

Soon, however, the piano introduces its own leading theme, followed by another idea that bears a striking resemblance to the opening gesture of Symphony No. 40. This material contrasts with a brighter, irresistibly elegant piano melody, before the march theme returns. A final new theme is then developed. Throughout the movement, the piano remains in constant motion, engaging in a lively dialogue with the orchestra. An elaborate cadenza leads to the concluding orchestral passage.

II. Andante

The Andante is undoubtedly one of Mozart’s most famous slow movements—and one of his most beautiful. The strings introduce a serene, flowing theme, supported by gently pulsating lower strings. Muted violins (con sordino) soften the orchestral color, creating an atmosphere of calm introspection.

The piano restates the theme over delicate pizzicato accompaniment. Gradually, a second and then a third theme appear, enriching the expressive palette, before the music gently returns to the opening melody.

III. Allegro assai

A brief but commanding introduction launches the final movement. The piano immediately responds with its own commentary on the theme before the orchestra introduces new material. Throughout the movement, soloist and orchestra share the musical argument: the piano embellishes with rapid scales and figurations while the orchestra states the main ideas. The opening theme reappears repeatedly, driving the music toward a spirited and confident conclusion.



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