Mozart 1

W. A. Mozart: Piano Concerto No.12, in A Major – K.
414
Background information: Copy paste some Wikipedia information here
General structure and remarks:

In terms of structure, the first movement of Mozart’s 12th piano concerto comes in an allegro-sonata form with a
double exposition. A noteworthy aspect here is that aside from the two main themes there is also a plethora of
other distinct musical ideas introduced and elaborated on during the course of the movement, including a sort of
‘third theme’ that acts as the main ‘fuel’ of the development section.
The orchestral exposition:

The first movement opens with an orchestral introduction that presents the most important thematic material in a
rather concise fashion.
The first theme group (bars 1-19) is vibrant and playful – with its basic idea consisting of an ascending triad
motif, followed by a series of descending apoggiaturas.
Phrase structure
In terms of phrase structure, the first theme group could be approached from two perspectives (which may also
be juxtaposed). In the bigger picture, the first theme group forms a period of an antecedent phrase of 8 bars plus
a HC, and a consequent phrase of 9 bars, plus a PAC. The inner structure of the antecedent (and consequent)
phrases, could also be interpreted as a sentence (although the continuation aspect is rather limited).
Two interpretations of the antecedent phrase:

1) Here, the basic idea comprises of the first four bars (harmonically going from T to D to T) with the main
motive being the rising triad. Followed by that comes the contrasting idea, comprising of a downward sequence
of suspensions leading to a half cadence.
2) The other interpretation sees the antecedent phrase as a sentence in itself:

The basic idea consists of the first two bars, which are then partially repeated, forming together the presentation
of the sentence. The continuation that follows however doesn’t really further develop or use the basic idea.
Transition (bars 19 – 32)

Following the PAC in bar 19, starts a long, melodious (yet harmonically sparse) transitional passage, that leads
up to the second theme group. Interestingly this passage will not come back during the second (solo) exposition.
The main elements that are introduced here are an ascending and then descending melodic line in the first
violins accompanied by a dotted rhythm pattern which is introduced in the woodwinds/trumpets, and the Celli,
continuously stating the tonic and dominant in 8th notes.
This passage concludes with a half cadence in A major (bar 29) which is then extended until bar 32.
The second theme group (bars 33-50) is then introduced in the home key (as it’s still part of the orchestral
introduction). The second theme is rhythmically more held back and thought in two larger ‘call and response’
units (4+4 bars). It further possesses a sense of light-heartedness, thanks in part to the celli playing pizzicato.
Phrase structure:
In terms of phrase structure, the second theme group forms a sentence consisting of:
A basic idea of 4 bars stated on the tonic, a repeat of the basic idea (4 more bars) on the dominant, and
an extensive continuation that largely takes place on top of a tonic pedal point building tension towards
the PAC in bar 50. - [see also annotated score]. The main motive elaborated upon during the
continuation is that of the descending 16th note pattern found in the upbeat to the repeat of the basic
idea:
Following the PAC of bar 50, a varied, harmonically denser version of the 2nd theme is stated, this time in the
form of a period of 8 bars which in itself concludes with a PAC (bar 58). The compact nature of this statement,
as well as its more cadential harmonic context make this passage sound more like a ‘complementary
afterthought’ – [as such it is labeled the closing section].
It is then immediately followed by a codetta consisting of repeated cadential passages consisting of ascending
and descending 16th notes, finally rounding off the first exposition in bar 63.
The solo exposition (from bar 64):

- 1st theme group (bars 64-86): The solo exposition begins with the statement of the 1st theme, this time on the
piano, with slight variations when compared to its initial statement in the orchestral introduction.
- The PAC of the consequent phrase is followed by a 6 bar cadential extension (bars 80-86) , using
excerpts of the codetta previously found at the ending of the first exposition.
In bar 87 a new transitional passage is introduced (one that wasn’t present in the orchestral introduction) that is
based on the last motive of the ‘codetta-like’ passage of the previous cadential extension.
This passage could also be analyzed in terms of phrase structure; making for another (rather long)
sentence consisting of: a basic idea of 2 bars (mm 86-87), a repeat on the dominant (mm 87-88) and a
continuation phrase leading up to a HC in bar 97 - which is then followed a passage that modulates to E
major, and concludes with a HC in bar 114.
The 2nd theme group is then introduced (this time – as expected in E major – the dominant key). It initially
appears in the same format as before, only this time in dialogue with the piano. Its continuation however appears
to be drastically different than the more ‘concise’ version presented during the orchestral exposition. –
Following the tonic pedal point of bars 123-127), we are presented with a descending fifth sequence (mm 128-
131) followed by a cadential passage of triplets that leads up to the first PAC of the 2nd theme group in bar 137.
Closing section (mm 138-145):

The first PAC of the 2nd theme group is then immediately followed by a post cadential extension of 8 bars
(making for the closing section of the exposition), featuring a variation of the same cadential passage - now in
16th notes instead of triplets - and once more concluding with another PAC.
Finally, a codetta follows in bars 146-152 in the same form as it was previously seen during the orchestral
exposition.
The Development
Having conclusively rounded off the exposition with a series of cadential passages, we are now introduced to a
new, march-like ‘3rd theme’ (first presented on the piano), which provides lots of the thematic ideas that will be
used during the development section. Although this idea is new, it does sound organic to its context – making it
sound familiar in a sense: the running downward passages resemble those of the upbeats of the 2 nd theme (mm.
152 as compared to the upbeat of mm. 119) and so does the tonic pedal that follows (mm.156 as compared to
mm. 123).
Phrase structure:
This theme too, in terms of phrase structure, is in the larger scale a period of: [8 bars plus HC] + [8 bars
plus PAC]. Each subsequent phrase of this period is also in itself a sentence [see annotated score for
more]. As such, this ‘3rd theme’ is established as a sort of musical entity in itself.
The actual development of the thematic material begins right after the PAC of this new theme, in bar 168.
There, starting with a series of arpeggios, we quickly modulate to F# minor (mm. 172) where a dominant pedal
point is initiated. On top of it, the head of the ‘3rd theme’ is presented amidst a dialogue between orchestra and
piano. Soon after (mm. 175), the 3rd theme is ‘merged’ with elements of the first theme (the ascending triad
pattern):
Eventually this passage leads up to the ‘climax’ of the development, which comes in the form of a descending
fifth sequence, decorated with expressive 9-10 suspensions in the arpeggiated piano part:
The passages that follow are the most dramatic so far, and remain in the key of F# minor. Finally following a
chromatic bassline leading up to a cadential 6/4 (bar 192-194), we are unexpectedly presented with a dominant
7th chord in the key of A major, suggesting the return to the first theme’s key area.
The recapitulation:
With the dominant 7th chord having hinted the tonality of A major, we arrive at the recapitulation.
Here, the first theme group is presented in its entirety identically.
As expected, the following transition passage comes in an altered form as not to modulate away from the home
key.
This is achieved by adjusting the chord progression of the transitional ‘theme’ to change its ‘heading’ towards
the subdominant of A major through the use of some secondary dominants:
Following that, a diatonic sequence leads up to a half cadence, preparing the entrance of the 2 nd theme.
The second theme appears as expected in the key of A major and it is stated in its entirety intact. Following the
PAC of bar 252, we are led towards the closing section (as previously seen in the orchestral introduction).
This time, the second half of the ‘closing theme’ (from bar 256) is significantly extended, paving the way
towards the final cadential 6/4 leading up to the cadenza:
The closing theme is fragmented and accelerated (bars 162 and on) making it part of a lengthy cadential section
leading up to a dominant pedal point (bar 276-282) which then gives way to a tonic pedal point (bars 283-288)
with various secondary harmonies ‘passing’ above it. Finally, we arrive at a final half cadence (immediately
preceded by an expressive secondary VII7), and here, the Cadenza sets in.
Following the Cadenza, a short coda follows (mm. 291) in the form of the previous codettas seen in the
exposition.

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W. A. Mozart: Piano Concerto No.12, in A Major – K.

Background information: Copy paste some Wikipedia information here

General structure and remarks:

The orchestral exposition:

Two interpretations of the antecedent phrase:

2) The other interpretation sees the antecedent phrase as a sentence in itself:

Transition (bars 19 – 32)

The solo exposition (from bar 64):

Closing section (mm 138-145):

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