Mozart’s Piano Concerto No.21 K467 2nd and 3rd movements
2nd movement
Instruments: Flute, Oboe, Bassoon (woodwind), Horn in F, Piano, Violins,
Viola, Cello & Bass (strings)
Tempo: Andante
Orchestral Ritornello
-F major
-First violins play the melody
-2nd violins and violas play quaver triplet pattern, while cellos & basses play
pizzicato
-Violins & viola plays Con Sordino
Bar 8: played with a contrasting dynamic (f to p), Minor 17th.
Bar 10: sfp dynamic, diminished 7th chord
Bar 12: (start of idea 3 - chromatic melodic idea introduced as descending
sequence): F minor begins.
Idea 3 : antiphony between first violins, flute and oboe
Bars 11-16: Horns in F and 2nd bassoon plays dominant pedal (sustained C),
while 1st bassoons play a series of suspensions.
Bar 17 (idea 4): F major again
Bar 19-20: Flute, oboe bassoon play ascending chromatic scale, doubling, in
octaves
Bar 21: Idea 4 starts: this is when woodwinds and first violins play doubling in
octaves. There’s a turn.
Bar 21-22: Perfect Cadence
Bar 22: flute, oboe, bassoon (woodwinds), Horns in F, play one bar of triplet
quaver pattern.
Solo exposition
-Piano plays the melody
-all strings play pizzicato until New Melodic Idea
All strings play pizzicato. F major.
Bar 23: piano starts with triplet quaver patterns heard before in strings.
, Bar 30: Horn in F plays tonic pedal. Idea 2: even larger leaps, large intervals
of over 3 octaves wide.
Bar 34: trill by piano
Bars 34-35: Perfect Cadence
Bar 35: flute, oboe play one bar of triplet quaver patterns
Bar 37: New theme begins. D minor (relative minor). Strings become arco,
NOT pizzicato.
Bar 39: played with a contrasting dynamic (f to p)
Bar 40: trill by piano
Bar 41, cello and bass pizzicato, violins and viola arco
Bars 42-43: Imperfect Cadence
Idea 3 (chromatic descending sequence) = C minor. Previous idea 3 in
orchestral ritornello was F minor. Suspensions in 1st oboe, 2nd bassoon
plays dominant pedal. (C)
Then idea 4. C major. Previous idea 4 in orchestral ritornello was F
major.
Violins play in octaves with piano (doubling) for 3 bars, before flute &
bassoons join violin and piano to double the melodic phrase. Piano
plays broken, arpeggiated chords.
Development
- C major
- Begins with a rising 10th between oboe and flute (Minor 10th) ->
inversion of idea 2
- Bar 56: Diminished 7th chord
- Bar 57-58: Perfect cadence
- Bar 58: G minor. Piano plays broken chords
- Bar 60: trill
- Bar 61: D minor. Viola starts pizzicato. So now violas, cellos, and
basses play pizzicato.
- Bar 61-62: Perfect Cadence
New theme in Bb major (sub-dominant)
2nd movement
Instruments: Flute, Oboe, Bassoon (woodwind), Horn in F, Piano, Violins,
Viola, Cello & Bass (strings)
Tempo: Andante
Orchestral Ritornello
-F major
-First violins play the melody
-2nd violins and violas play quaver triplet pattern, while cellos & basses play
pizzicato
-Violins & viola plays Con Sordino
Bar 8: played with a contrasting dynamic (f to p), Minor 17th.
Bar 10: sfp dynamic, diminished 7th chord
Bar 12: (start of idea 3 - chromatic melodic idea introduced as descending
sequence): F minor begins.
Idea 3 : antiphony between first violins, flute and oboe
Bars 11-16: Horns in F and 2nd bassoon plays dominant pedal (sustained C),
while 1st bassoons play a series of suspensions.
Bar 17 (idea 4): F major again
Bar 19-20: Flute, oboe bassoon play ascending chromatic scale, doubling, in
octaves
Bar 21: Idea 4 starts: this is when woodwinds and first violins play doubling in
octaves. There’s a turn.
Bar 21-22: Perfect Cadence
Bar 22: flute, oboe, bassoon (woodwinds), Horns in F, play one bar of triplet
quaver pattern.
Solo exposition
-Piano plays the melody
-all strings play pizzicato until New Melodic Idea
All strings play pizzicato. F major.
Bar 23: piano starts with triplet quaver patterns heard before in strings.
, Bar 30: Horn in F plays tonic pedal. Idea 2: even larger leaps, large intervals
of over 3 octaves wide.
Bar 34: trill by piano
Bars 34-35: Perfect Cadence
Bar 35: flute, oboe play one bar of triplet quaver patterns
Bar 37: New theme begins. D minor (relative minor). Strings become arco,
NOT pizzicato.
Bar 39: played with a contrasting dynamic (f to p)
Bar 40: trill by piano
Bar 41, cello and bass pizzicato, violins and viola arco
Bars 42-43: Imperfect Cadence
Idea 3 (chromatic descending sequence) = C minor. Previous idea 3 in
orchestral ritornello was F minor. Suspensions in 1st oboe, 2nd bassoon
plays dominant pedal. (C)
Then idea 4. C major. Previous idea 4 in orchestral ritornello was F
major.
Violins play in octaves with piano (doubling) for 3 bars, before flute &
bassoons join violin and piano to double the melodic phrase. Piano
plays broken, arpeggiated chords.
Development
- C major
- Begins with a rising 10th between oboe and flute (Minor 10th) ->
inversion of idea 2
- Bar 56: Diminished 7th chord
- Bar 57-58: Perfect cadence
- Bar 58: G minor. Piano plays broken chords
- Bar 60: trill
- Bar 61: D minor. Viola starts pizzicato. So now violas, cellos, and
basses play pizzicato.
- Bar 61-62: Perfect Cadence
New theme in Bb major (sub-dominant)
