Mozart: Piano concerto n. No. 21 in C major, K.467

Mozart

 

 

 Piano concerto n. No. 21 in C major, K.467

 

피아노 협주곡 21번은 모차르트 전성기때 였던 1785년에 완성된 곡이다. 또한 모차르트의 가장 행복했던 시기이자 창작열이 가장 왕성했던 때 피아노 협주곡 20번과 동시에 작곡된 곡이며 그 많은 장조의 피아노 협주곡 중에서 2인자의 위치를 확고히 굳히고 있는 곡이다. 특히 여기 21번엔 간결한 형식미, 그의 피아노 협주곡 중에서 둘째 가라면 서러워할 형식미가 담겨 있으며 2악장인 안단테는 이 협주곡 중 가장 뛰어난 악장으로 피아노의 잔잔한 시적 선율과 감상적 내용은 이 악장의 아름다움을 더해준다. 또한 2악장은 실화를 바탕으로 한 처절하리만치 아름다운 사랑 이야기의 스웨덴 영화 "엘비라 마디간(Elvira Mardigan)"의 주제곡으로 쓰여 "피아노 협주곡 21번"을 세계적인 히트곡으로 만들어 미국의 빌보드 톱10에까지 올려 놓을 정도였다. 1악장: Allegro maestoso ‘군대’라는 별칭의 이유가 됐을 만큼 행진곡풍으로 당당하게 문을 연다. C장조의 으뜸화음으로 제시되는 주제부가 관현악 총주로 여러 차례 반복된 다음, 피아노가 산뜻하게 등장한다. 기교적으로도 현란하다. 그런데 잠시 후에 피아노 독주가 어두운 단조의 선율을 아주 잠깐 연주한다. 하지만 그 우울한 정조는 금세 사라지고 다시 장조의 밝은 색채로 돌아온다. 2악장: Andante 그 유명한 안단테이다. 바로 ‘엘비라 마디간’이라는 이름을 얻게 만든 악장이다. 현악기들이 잔잔한 물결 같은 주제 선율을 노래하고 피아노가 이어받는다. 간단히 요약하자면 애틋한 슬픔이 표현된다. 3악장: Allegro vivace assai 현악기들이 짧은 음형을 새가 지저귀듯이 노래하고 관악기들이 가세하면서 음량이 점점 커진다. 그리고 드디어 피아노가 달려 나가고 관현악이 리드미컬하게 조응한다. 그렇게 피아노와 관현악이 대화를 주고받다가 매우 화려하고 강력한 느낌으로 곡을 마무리한다. 3악장은 전체 악장들 가운데 가장 유머러스한 분위기를 풍긴다.

The Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.^[1][2]

 

The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani and strings.

 

The concerto has three movements:

1. Allegro maestoso; in common time. The tempo marking is in Mozart's catalog of his own works, but not in the autograph manuscript.^[3]
2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve.^[3]
3. Allegro vivace assai

The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.^[4] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost.

 

The famous Andante, in the subdominant key of F major, is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor.

 

The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. Then it modulates to G minor, then B-flat major, then F minor, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

 

The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

Cultural references

 

The opening of the second movement in Mozart's handwriting.

 

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][5] As a result, the piece has become widely known as the Elvira Madigan concerto.^[6][7][8]

Neil Diamond's 1972 song "Song Sung Blue" was based on a theme from the andante movement of

the concerto.^[9]