Wolfgang Amadeus Mozart Klavierkonzert Nr. 5 in D-Dur Videos
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2024-04-17
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Le concerto pour piano n°5 en ré majeur, K 175, a été composé par Mozart en 1773, à l'âge de 17 ans. Il s'agit du premier concerto pour piano entièrement original de Mozart. Ses efforts précédents ont été basés sur des œuvres d'autres compositeurs. Instrumentation : 2 hautbois, 2 cors, 2 trompettes, timbales et cordes. Jusqu'au treizième concerto, c'est le seul avec trompettes et timbales. Le deuxième mouvement omet les trompettes et timbales. Ce concerto a été un favori de Mozart et est mentionné dans plusieurs de ses lettres. Il l'a joué lors de ses concerts jusqu'à l'année de sa mort. Télécharger cette musique sur www.musiqueclassiquetv.com
Wolfgang Amadeus Mozart Andreae
Español: Concierto para Piano nº5 en Re mayor, K. 175 1st Movement (Allegro) 2nd Movement (Andante) 3rd Movement (Rondó, Allegro) Work: Piano Concerto No. 5 in D major, K. 175 Composer: Wolfgang Amadeus Mozart Orchestra: Orchestra della Radiotelevisione della Svizzera Italiana Conductor: Marc Andreae Soloist: Malcolm Frager
Wolfgang Amadeus Mozart Anda Géza Johann Christian Bach Bach Haydn Freed Alfred Einstein Camerata Academica 1756 1773 1778 1782 1791
Wolfgang Amadeus Mozart +••.••(...)) Piano Concerto No. 5 in D major, K. 175 (1773) 00:00 - Allegro (Cadenza: Mozart) 08:04 - Andante, ma un poco adagio (Cadenza: Mozart) 15:44 - Allegro (Cadenza: Anda) Géza Anda (Piano & Conductor) and Camerata Academica des Salzburgers Mozarteums perform. "It was at the end of 1773 that Mozart wrote his first really original clavier concerto, in D major (K. 175). In its instrumentation—which includes not only oboes and horns but trumpets and timpani as well— in its relation between soloist and orchestra, and in its length, it goes far beyond Johann Christian Bach, and one has the impression that Mozart knew this fact and wished to emphasize it. For in the development section, after only six measures of the solo part, the tutti enters with a so-called 'false recapitulation'—a device Mozart does not usually greatly emphasize, and one that does not have at all the same significance in his works as in Haydn's. Now, Johann Christian would have begun the real recapitulation at this point, because in his concertos, intended as they were for the ornamentation of social functions, an elegant and ingratiating solo part was more important than any serious opposition between solo and tutti. Even in the Mozart work the recapitulation comes only twenty-two measures later, but during these twenty-two measures there are suggestions of perilous and somber regions, and it is by contrast with them that the royal majesty of the recapitulation is brought out. There is hardly a measure in the work in which there is not a lively relation in sound, and often a thematic relation as well, between the solo and the tutti, although the whole remains well within the bounds of galanterie. The same is true of the Andante (ma un poco Adagio!) in G major, a deeply felt movement despite all its galanterie. He writes a 'learned,' contrapuntal Finale, as in a few of the Vienna string quartets of 1773. But here he succeeds in something that was not quite successful in them. The canonic entrance of the theme in the tutti is transformed in the following entrance of the solo part. And this softened, galant version of the original 'learned' and somewhat rigid material has been prepared by a subsidiary theme that would not be out of place even in the Finale of the 'Jupiter' Symphony. "The wit and grace in the play of these two contrasting elements are inimitable; in this first attempt, Mozart has not only left Johann Christian and Philipp Emanuel far behind, but has freed himself from them entirely. Did he later become dissatisfied with this movement, or was he no longer sure of its effect on the public? From Mannheim, he reports, diffidently (14 February 1778): 'Then I played my old concerto in D major, because it is still a favorite here'; but for the public of Vienna he replaced the movement in 1782 with a set of Variations (K. 382)—Mozart himself called the new movement a 'rondo'—which is a little miracle of humor when one considers all that is made of the alternation of tonics and dominants (and when one imagines how Mozart must have played it). But as a conclusion for this Concerto it does not maintain the style of the earlier movements. This is the first instance of Mozart's having to write down to the taste of the Vienna public." - Alfred Einstein
Piano Concerto No. 5 in D major, K. 175, was composed by Wolfgang Amadeus Mozart in 1773, at the age of 17. It is Mozart's first fully original piano concerto; his previous efforts were based on works by other composers. The work is scored for two oboes, two horns, two trumpets, timpani, and strings and was the only concerto with trumpets and timpani until No. 13, K. 415. Note that only the first and last movements contain parts for trumpets and timpani. The three movements of the concerto are listed as follows: 1. Allegro 2. Andante ma un poco adagio 3. Rondo: Allegro Unfolding with two whole notes, Mozart tackles a problem in the finale / how to introduce contrapuntal elements in a sonata form movement / that he was to revisit several more times. Mozart later composed a more tuneful rondo finale for this concerto, thinking it would be more popular with the Viennese audience than the original third movement. (Rondo in D, K. 382) This concerto was a favorite of Mozart's and is mentioned in many of his letters. He played the piece at concerts until the year of his death. / FREE .mp3 and .wav files of all Mozart's music at: (http•••) FREE sheet music scores of any Mozart piece at: (http•••) ALSO check out these cool sites: (http•••) and (http•••) / NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. / ENJOY!!!! :D
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