W. A. MOZART Clavier-Concerte 18 & 19
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Concerto 18 B flat major KV 456 Composed: Vienna, before 30 September 1784 Mozart is 28 years old. 1784, 18 August, Vienna (letter to Nannerl Mozart) “And so, now accept a little counsel, straight from my poetic cranium; just listen: You will experience much as a married woman which will seem half a mystery to you soon you will know from experience what Eve had to do so that she later gave birth to Cain. But, Sister, these connubial duties you will be only too glad to perform. For, believe me, they are not onerous. Still, everything has two sides: Marriage certainly brings much joy, only it brings sorrow as well. So if your husband scowls at you in a way that you don’t think you deserve when he’s in a bad temper: remember that it’s just his mood, and say to yourself: My lord and master, thy will be done by day—and mine by night!” 1792 First posthumous publication, Andr, Offenbach. CONCERTO 19 F Major KV 459 Composed: Vienna, before 11 December 1784 Mozart is 28 years old. 1790, 8 October, Frankfurt am Main “Tomorrow is the coronation take care of your health–and be careful when you go out.–adieu” 1790, 15 October, Frankfurt am Main (Akademie) “as far as my reputation goes, [it was] wonderful, but financially pretty meagre results” 1794 First posthumous publication Andr, Offenbach. On the title page: [in French] “This concerto was performed by the composer at Frankfurt am Main on the occasion of the coronation of Emperor Leopold II” Concerning the use of the doctrine of musical figures in Mozart’s concerti Part four In the accompanying notes to the third, fourth and fifth recordings (CCS 0990, CCS 1791, CCS 1891) in this series of the complete piano concerti of Mozart, I wrote of my first investigative steps in the realm of rhetoric, the importance of rhetoric and the doctrine of musical figures, and above all of the significance which this material has for the performing musician. I also discussed 44 figures which gave emphasis or demanded attention by means of repetition, interruptions, displacements, contrasts, changes of form, or changes of voice/tessitura. In this third section, I want to discuss an additional 10 figures, concluding with 3 particularly special figures. …
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