tag:blogger.com,1999:blog-8827040061563065922.post8568315404537614130..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Concerto Guide: Mozart Concerto for Piano and Orchestra in D minor, K. 466Bryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8827040061563065922.post-14351858145281471942015-01-21T11:44:39.115-06:002015-01-21T11:44:39.115-06:00Yes, this ending with a section in major was somet...Yes, this ending with a section in major was something that the 19th century was not so comfortable with. Mind you, Beethoven used the same idea in his Symphony No. 5. But the Romantics liked to keep the minor gloom to the end!! Oddly enough, they had a different attitude towards literature as it was the 19th century that insisted on "fixing" the more tragic endings of some Shakespeare plays. The ending of King Lear was so deeply sorrowful that they usually changed it!Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-68667858601579716372015-01-21T02:07:19.799-06:002015-01-21T02:07:19.799-06:00Interesting observations. Yes, the first movement ...Interesting observations. Yes, the first movement is quite dramatic. The 2nd movement is also interesting. The piano and the rest of the orchestra shares more material but there's a section that is very dramatic. All of the sudden a punchy chord comes from the orchestra and the piano plays in 16th triplets. This section ends by slowing down the piano rhythm to 16th notes, triplets and then finally to 8th notes and we're back where we started (pretty much) in terms of thematic material. The 3rd movement is also pretty dramatic, especially with the timpani adding some punch. It ends in D major though. <br /><br />I can see why Beethoven saw it as a favorite concerto.Rickardhttps://www.blogger.com/profile/08084578675339015204noreply@blogger.com