Analysis Piano Concerto No. 19 (Mozart)

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1 analysis

1.1 prelude (orchestra)
1.2 exposition
1.3 first ritornello (orchestra)
1.4 middle section
1.5 recapitulation
1.6 final ritornello (orchestra apart cadenza)
1.7 themes





analysis

the analysis based on, , expanded scheme of hutchings, reference score. girdlestone s implied scheme differs (for example, recognises 7 themes in prelude: 1 identified subsidiary theme below).


prelude (orchestra)

bars:

1-16 (2 x 8 bars, first p f)

16-24 b

24-36 c plus short passage (32-36) connecting d (this reoccurs d , considered part of it)

37-54 d (37-42), plus subsidiary theme linking e

54-62 e -first closing theme

62-71 f -second closing theme


exposition

72-79 (piano)

79-87 (piano plus orchestra)

87-95 b (in orchestra, piano accompanies), modulates c major @ end

95-99 x (piano)

100-105 x (piano plus orchestra) short passage connecting a

106-111 (orchestra), still in c

111-130 (piano plus orchestra), in d minor modulates through suspensions through various keys

130-138 y (orchestra) in c major

138-148 y (piano, strings @ 142-44)

149-164 (fragments of rhythm in orchestra, piano accompanies), modulates through various keys

164-167 linking passage similar 32-36 (in orchestra, piano accompanies), in c major

168-171 d (orchestra, piano accompanies), in f major again

171-177 linking passage similar 32-36 (in orchestra, piano accompanies)

178-180 d (piano, orchestra accompanies)

181-188 free passage, based on triplets of d (piano orchestral accompaniment), finishing on shake @ 178 on d, signifying end of exposition.


first ritornello (orchestra)

189-194 a, in c major

194-201 g

202-206 (repeated fragments)

207-210 g


middle section

211-212 h (piano), in minor

213-214 (orchestra, piano accompanies)

215-216 h (piano), in minor

217-235 (orchestra , piano closely tied, switching theme , forward)

235-240 h (a free version, piano)

241-246 (orchestra), modulating return f major recapitulation


recapitulation

247-254 (piano), in f major

255-262 (orchestra)

262-273 b (orchestra, piano accompanies)

273-278 (orchestra)

278-285 (piano, orchestra accompanies)

286-297 (orchestra, piano accompanies, 291-293 linking passage)

297-305 y (orchestra)

305-315 y (piano, on own apart 309-311)

316-330 (orchestra, piano accompanies)

330-334 transition passage d, 32-36 (orchestra, piano accompanies)

335-340 d (orchestra, piano accompanies), 338-340 linking passage piano

340-347 subsidiary theme 42-49 (piano, orchestra accompanies)

348-352 transition passage 32-36 (orchestra, piano accompanies) leading d

353-359 d (piano, orchestra accompanies), 356-359 linking passage

360-366 (orchestra, piano accompanies)

367-368 (piano, orchestra accompanies)

369-370 (orchestra, piano accompanies)

371-378 free passage, piano in broken chord triplets, leading shake on g @ 378 signifying end of recapitulation.


final ritornello (orchestra apart cadenza)

379-384 a

384-390 g

390-392 (fragment)

392 cadenza (piano: mozart s 37 bars long, kv 626ai/58)

393-401 e

401-410 f


themes

a (first appearance: bar 1)





b (first appearance: bar 16)





c (first appearance: bar 24)





d (first appearance: bar 37)





e (first appearance: bar 54)





f (first appearance: bar 64)





x (first appearance: bar 95)





y (first appearance: bar 130; below piano version @ 138)





g (first appearance: bar 194)





h (first appearance: bar 211)










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