1 Mary Anne Short, Amanda Hock, Kamran Warsi, Preston Cole Professor Rhyne Introduction to Music 6 November 2013

Outline for Group Paper I. Background Information About The Work Preston A. Title of Work 1. The tile of the work we chose is Piano Concerto No. 20 in D minor, K. 466, movement 1. B. Composer 1. The composer of this work is Wolfgang Amadeus Mozart. C. Compositional date 1. The work was composed on February 10, 1785. D. Musical Era in which the piece was composed ELABORATE ON THIS 1. The piece was composed during the Classical Era. E. Where the piece was composed ELABORATE ON THIS 1. The piece was composed in Vienna Italy. F. Where and when the piece was first played ELABORATE ON THIS 1. The piece was first played at the Mehlgrube Casino on February 11, 1785, only one day after it was composed. II. The Concerto In Relation To This Piece- Mary Anne A. Definition of piano concerto:

2 1. A concerto written for a piano accompanied by an orchestra or another large ensemble (http://en.wikipedia.org/wiki/Piano_concerto) B. A central characteristic of the late eighteenth century concerto is the competition between the piano and the orchestra. 1. However, in this piece the piano and orchestra do not compete, but rather there is an equal manipulation of the dialogued material. 2. The piece has a collaborative atmosphere rather than a combative atmosphere. 3. This piece has a more complex manipulation of material compared to Mozarts other piano concertos C. The concerto is similar to an opera because it can also be considered a type of theater in which the pianist is the star of the show. D. The exchange between the piano and orchestra resembles an actual dialogue. III. Mozart And The Concerto- Mary Anne A. Mozart wrote 23 piano concertos. B. He is responsible for making the piano concerto a major genre in music. C. In addition to the opera, the piano concert was one of Mozarts favorite genres. D. The concerto in general is a very personal work, but especially for Mozart since he was the intended soloist for several of his concertos. E. Between the years 1784 and 1788, Mozarts experience of the presence of the spirit in his secular works is most notable. 1. Also, during this time one could hear Mozarts personal voice through his music.

3 IV. Characteristics And Style Of The Work- Kamran (A-E) and Amanda (F-I) A. Melody(s) 1. The orchestra and the piano played a melody that has a wavelike contour and that is conjunct. a. Its wavelike because for the most part the melodies that are played by the piano and orchestra are ascending during the highest pitch and drop down in pitch to a subtle and lyrical melody. B. Theme(s) 1. The piece starts off with ritornello theme, then secondary theme and then piano theme. C. Harmony 1. The harmony throughout the first movement is very dissonant because of the fast tempo and the suspense that is created by the ascending melodies and the harmonies that play on the piano. D. Is there chromaticism in the work? 1. Yes, Mozart uses many chromatic notes in this piece. 2. Chromatic pitches are common throughout the piece. E. Texture 1. This piece is mainly homophonic, however polyphonic at times. 2. The opening of the exposition is homophonic with the violin providing the melody and the cello providing harmony. 3. As the exposition continues, the orchestra plays polyphonically as they reach an ascending melody and come close to the re-exposition.

4 4. The piano and orchestra soon dive into a homophonic texture with piano playing the melody. There is more homophony in development and the piano plays the melody instead. 5. In recapitulation, its just the piano and the texture is monophonic. 6. The piece finishes the coda with a polyphonic texture. F. Instrumentation 1. The instruments used in this piece are violins, violas, cello, bass, flute, oboes, bassoon, horns, trumpets, timpani. G. Form 1. This piece follows the typical Classical Concerto form of a mix of ritornello form and sonata-allegro. 2. It starts off with a ritornello theme in a small group of the orchestra then moves to full orchestra. 3. In typical sonata-allegro form we move to a smoother, slower theme using woodwinds (Mozarts colorful orchestration). 4. The exposition is repeated (ritornello theme 1 and woodwind theme 2) and then the piano solo theme is introduced. 5. Ritornello theme starts off again but this time there is a piano variation overlapping the march-like theme. 6. There is expanded development of the second theme with a piano variation overlapping and more colorful orchestration (clarinet). 7. There is continued development of the ritornello theme, theme 2 and the piano theme, all seem to be overlapping beautifully.

5 8. Typical recap plus piano cadenza 9. The coda essentially winds down the piece carrying the movement to a close with a soft final note. H. Interesting facts about the work 1. This piano concerto was most likely the most often performed piano concerto by Mozart performed during the nineteenth century. 2. This piece was the only Mozart concerto that Beethoven ever performed. 3. The piece was written hurriedly and performed one day after it was composed. 4. The first movement lasts the longest amount of time out of each of the 3 movements. I. Character/ mood of the movement 1. The movement begins in a minor key. a. It sounds very dramatic and dark at the beginning. 2. Then, in the recapitulation it sounds slightly brighter. 3. The opening is homophonic and slowly builds up to where the whole orchestra comes together, giving it a dark and sinister feel. The ascending melodies the orchestra plays builds up suspense and at certain instances the woodwinds plays more lyrical and subtle. 4. The melody was unrelated to the orchestra and created a sense of uncertainty.

6 Works Cited "AllMusic." AllMusic. N.p., n.d. Web. 06 Nov. 2013. Irving, John A. Mozart's Piano Concertos. Burlington: Ashgate, 2003. Print. Keefe, Simon P. Mozart's Piano Concertos: Dramatic Dialogue In The Age Of Enlightenment. Rochester: The Boydell Press, 2001. Print. "Perahia Plays And Conducts Mozart English Chamber Orchestra Vol. 3: Piano Concerto No. 20 In D Minor, K. 466 / Piano Concerto No. 11 In F Major, K. 413." Discogs. N.p., n.d. Web. 06 Nov. 2013. "Piano Concerto No.20 in D Minor, K.466 (Mozart, Wolfgang Amadeus)." IMSLP/Petrucci Music Library: Free Public Domain Sheet Music. N.p., n.d. Web. 06 Nov. 2013. Rosselli, John. The Life Of Mozart. New York: Cambridge University Press, 1998. Print. Wates, Roye E. Mozart: An Introduction To The Music, The Man, And The Myths. Milwaukee: Amadeus Press, 2010. Print. http://www.kennedycenter.org/calendar/?fuseaction=composition&composition_id=4174