984:. The orchestra then comes up with the second theme – a scalar passage which is then presented in a contrapuntal fashion. The piano remains silent during this time. Then the piano makes its re-entrance and starts off with runs. The orchestra provides continuous accompaniment with the main motif and different themes. At one point the opening material returns and the second theme is played again, though not in the same pitch or with the same instrumentation. The treatment is contrapuntal but somewhat looser than previously, the piano now playing along with the orchestra. A sweeping passage by piano and then by orchestra leads into the
707:
440:(22 bars) that introduces another theme, G: the scheme is AGAG. In the ensuing middle section (35 bars) yet another orchestral theme is introduced, H: the scheme is HAHAHA. This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free. Finally, the movement is brought to a close with the final ritornello (36 bars): AGA Cadenza (Mozart's own exists) EF – hence the two closing themes of the prelude are finally heard again at the end.
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without the middle section). Each of the two major themes, the first major, the second minor, is broadly presented and varied; Mozart slightly varies the second presentation in B to avoid exact repetition. The movement is closed with highly characteristic use of the woodwind in quiet rising scales.
431:
for a discussion of this notation), of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement. The piano then answers with its own exposition of 116 bars, starting with A and B,
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426:
The first movement is in cut time, and it is the only first movement of a piano concerto by Mozart to be written in cut time. The orchestra opens quietly with a prelude of 71 bars (Hutchings incorrectly states 72), wherein six orchestral themes are exposed (A–F in
Hutchings' notation; see main
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339:
321:
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331:
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295:
976:, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch. This motif is in fact used very frequently throughout the piece, a technique similar to the motif development used by
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304:
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form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece:
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181–188 Free passage, based on the triplets of D (piano with orchestral accompaniment), finishing on the shake at 178 on D, signifying the end of the exposition.
1658:
452:'s implied scheme differs somewhat (for example, he recognises seven themes in the prelude: the extra one is identified as the "subsidiary theme" below).
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where the main theme is built up bit by bit to a conclusion. The piece closes with three emphatic chords played by all instruments, including piano.
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79–85 H (piano, orchestra accompanies) turning into free passage that modulates back to C major at the close for the recapitulation.
165:). It is occasionally known as the "second coronation concerto" on account of Mozart playing it on the occasion of the coronation of
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153:: Mozart's own catalogue of works records that it was completed on 11 December (works surrounding it in the Köchel catalogue are
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371–378 Free passage, piano in broken chord triplets, leading to shake on g at 378 signifying the end of the recapitulation.
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24–36 C plus short passage (32–36) connecting to D (this reoccurs constantly with D and thus could be considered part of it)
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which provides a temporary break from the relentless exhilaration of the movement. After the cadenza comes the
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and scales: the scheme is ABxAyA Free D Free. The orchestra then returns on its own with its short first
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141–146 H (piano, orchestra accompanies) turning into free passage that leads back to A stays in C major
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111–130 A (piano plus orchestra), in d minor then modulates through suspensions through various keys
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149–164 A (fragments of the rhythm in orchestra, piano accompanies), modulates through various keys
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The analysis is based on, and expanded from the scheme of
Hutchings, by reference to the score.
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156–159 A – final, ornamented statement by piano, accompanied by the orchestral scales.
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This gentle movement is in a condensed sonata form, with an ABAB structure (i.e. like a
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164–167 linking passage similar to 32–36 (in orchestra, piano accompanies), in C major
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103–111 A treated canonically as in 48–51, extended (piano and orchestra together)
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99–102 free passage that modulates into G major, then immediately back to C major
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58–61 E Opening of second group with unprepared modulation to g minor (orchestra)
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348–352 transition passage like 32–36 (orchestra, piano accompanies) leading to D
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95–98 C (piano, orchestra accompanies. almost identical to 35–38), passing into
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38:
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241–246 A (orchestra), modulating to return to F major for the recapitulation
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217–235 A (orchestra and piano closely tied, switching theme back and forward)
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43:
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produced an edition in 1800. Like most of Mozart's concertos it is in three
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then introducing some new material (themes x and y), with free passages of
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335–340 D (orchestra, piano accompanies), 338–340 linking passage by piano
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330–334 transition passage to D, like 32–36 (orchestra, piano accompanies)
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171–177 linking passage similar to 32–36 (in orchestra, piano accompanies)
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15–20 Connecting passage, modulating through various keys back to C major
433:
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932: in this section. Unsourced material may be challenged and removed.
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62:
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48–51 A (piano, orchestra accompanies), in G major treated canonically
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87–95 B (in orchestra, piano accompanies), modulates to C major at end
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100–105 x (piano plus orchestra) then short passage connecting to A
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calls it "athletic", combining grace with vigour. It is scored for
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340–347 subsidiary theme like 42–49 (piano, orchestra accompanies)
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y (first appearance: bar 130; below is the piano version at 138)
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353–359 D (piano, orchestra accompanies), 356–359 linking passage
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286–297 A (orchestra, piano accompanies, 291–293 linking passage)
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52–57 D new thematic material (piano), closing the first group
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30–35 A (passes back and forwards between piano and orchestra)
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168–171 D (orchestra, piano accompanies), in F major again
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136–141 connecting passage (piano, orchestra accompanies)
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86–95 A (piano first, then both), treated in a varied way
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The concerto was written for Mozart to perform himself:
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121–124 E (piano, orchestra accompanies), still c minor
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as the concerto's strongest movement, is in a broadly
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129–135 same, with piano, modulating to C major at end
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71–73 same, with piano, modulating to G major at end
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44–47 A (orchestra), in G major treated canonically
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37–54 D (37–42), plus subsidiary theme linking to E
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18:
1013:
1020:. Mineola, New York: Dover Publications. p.
562:305–315 y (piano, on its own apart from 309–311)
1480:List of compositions by Wolfgang Amadeus Mozart
586:Final ritornello (orchestra apart from cadenza)
596:392 Cadenza (piano: Mozart's is 37 bars long,
1506:
1125:
496:138–148 y (piano, but with strings at 142–44)
8:
815:39–43 free passage that modulates to G major
855:116–120 E (orchestra), this time in c minor
813:35–38 C new thematic material, passing into
751:. Unsourced material may be challenged and
394:. Unsourced material may be challenged and
1943:Piano concertos by Wolfgang Amadeus Mozart
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827:67–70 F new thematic material in orchestra
169:in Frankfurt am Main in October 1790. The
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15:
1105:International Music Score Library Project
948:Learn how and when to remove this message
771:Learn how and when to remove this message
414:Learn how and when to remove this message
1101:Piano Concerto No. 19 in F major, K. 459
1059:Piano Concertos Nos. 17–22 in full score
580:369–370 A (orchestra, piano accompanies)
578:367–368 A (piano, orchestra accompanies)
576:360–366 A (orchestra, piano accompanies)
564:316–330 A (orchestra, piano accompanies)
556:278–285 A (piano, orchestra accompanies)
552:262–273 B (orchestra, piano accompanies)
532:213–214 A (orchestra, piano accompanies)
506:178–180 D (piano, orchestra accompanies)
1912:
1268:No. 7 in F major for 3 Pianos, K. 242 (
1191:Three Concertos after J.C. Bach, K. 107
1052:A Companion to Mozart's Piano Concertos
1001:
833:76–77 G (orchestra, piano accompanies)
350:
7:
930:adding citations to reliable sources
749:adding citations to reliable sources
392:adding citations to reliable sources
177:. The first edition was produced by
462:1–16 A (2 x 8 bars, first p then f)
825:62–66 E (piano, strings accompany)
351:Problems playing these files? See
14:
869:146–150 A (orchestra plus piano)
538:235–240 H (a free version, piano)
490:106–111 A (orchestra), still in C
1915:
1890:
1889:
1750:Maria Anna Thekla Mozart (Bäsle)
1475:About the Mozart piano concertos
906:
835:77–78 connecting passage (piano)
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494:130–138 y (orchestra) in C major
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336:
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1867:Beethoven–Haydn–Mozart Memorial
917:needs additional citations for
520:202–206 A (repeated fragments)
472:62–71 F – second closing theme
1016:Mozart and his Piano Concertos
859:125–129 F (orchestra), c minor
702:H (first appearance: bar 211)
692:G (first appearance: bar 194)
482:79–87 A (piano plus orchestra)
1:
853:111–116 D (piano) in C major,
672:x (first appearance: bar 95)
662:F (first appearance: bar 64)
652:E (first appearance: bar 54)
642:D (first appearance: bar 37)
632:C (first appearance: bar 24)
622:B (first appearance: bar 16)
548:247–254 A (piano), in F major
534:215–216 H (piano), in a minor
530:211–212 H (piano), in a minor
470:54–62 E – first closing theme
1776:(paternal great-grandfather)
1619:Concert arias, songs, canons
1010:Girdlestone, Cuthbert Morton
887:A (first appearance: bar 1)
612:A (first appearance: bar 1)
512:First ritornello (orchestra)
1756:Franz Xaver Wolfgang Mozart
1738:Maria Anna Mozart (Nannerl)
1426:No. 26 in D major, K. 537 (
960:The movement, described by
877:150–155 scales in orchestra
50:(Augsburg, 1775) – Berlin,
1964:
1283:major for 2 Pianos, K. 365
1225:No. 8 in C major, K. 246 (
1054:, Oxford University Press.
831:74–76 G (piano in G major)
208:Andante Un Poco Allegretto
181:of Offenbach in 1794, and
149:was written at the end of
104:Andante Un Poco Allegretto
1885:
1862:Mozart in popular culture
1674:Relationship with G minor
1470:
1408:No. 25 in C major, K. 503
1403:No. 24 in C minor, K. 491
1398:No. 23 in A major, K. 488
1382:No. 21 in C major, K. 467
1377:No. 20 in D minor, K. 466
1372:No. 19 in F major, K. 459
1356:No. 17 in G major, K. 453
1351:No. 16 in D major, K. 451
1311:No. 13 in C major, K. 415
1306:No. 12 in A major, K. 414
1301:No. 11 in F major, K. 413
157:, the "Hunt" quartet and
36:
28:
23:
19:Piano Concerto in F major
1591:Appearance and character
1209:No. 5 in D major, K. 175
52:Musikinstrumenten-Museum
1948:Compositions in F major
1877:Mozart Monument, Vienna
1522:Wolfgang Amadeus Mozart
1186:No. 4 in G major, K. 41
1181:No. 3 in D major, K. 40
1165:No. 1 in F major, K. 37
1147:Wolfgang Amadeus Mozart
980:in his Symphony No. 5,
147:Wolfgang Amadeus Mozart
1770:(paternal grandfather)
1321:Major Vienna concertos
1293:Early Vienna concertos
1157:Childhood arrangements
429:Mozart piano concertos
289:
183:Breitkopf & Härtel
863:135–136 G (orchestra)
560:297–305 y (orchestra)
554:273–278 A (orchestra)
550:255–262 A (orchestra)
516:189–194 A, in C major
288:
135:Piano Concerto No. 19
1669:Compositional method
1649:Works for solo piano
926:improve this article
745:improve this section
594:390–392 A (fragment)
388:improve this section
175:Berlin State Library
48:Johann Andreas Stein
1768:Johann Georg Mozart
1703:Neue Mozart-Ausgabe
1696:Alte Mozart-Ausgabe
1095:Neue Mozart-Ausgabe
1079:Konzert in F KV 459
807:21–25 A (orchestra)
803:10–14 B (orchestra)
456:Prelude (orchestra)
161:, the fifth of the
1762:Karl Thomas Mozart
1201:Salzburg concertos
1063:Dover Publications
801:1–10 A (orchestra)
332:III. Allegro assai
290:
1938:1784 compositions
1903:
1902:
1732:Anna Maria Mozart
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1258:Concertos for two
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1782:(brother-in-law)
1744:Constanze Mozart
1690:Köchel catalogue
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1664:Violin concertos
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1103:: Scores at the
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1826:Catholic Church
1809:
1806:(sister-in-law)
1800:(sister-in-law)
1794:(sister-in-law)
1788:(mother-in-law)
1708:
1678:
1644:Piano concertos
1605:
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1462:A major, K. 386
1457:D major, K. 382
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1418:Later concertos
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1141:Piano concertos
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1043:Further reading
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1752:(first cousin)
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1726:Leopold Mozart
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1629:Horn concertos
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1450:Concert rondos
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1070:External links
1068:
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1057:Mozart, W. A.
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982:first movement
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898:Third movement
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841:Recapitulation
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584:
545:
544:Recapitulation
542:
527:
526:Middle section
524:
513:
510:
477:
474:
457:
454:
445:
442:
422:
421:
372:
370:
363:
348:
335:
330:
329:
317:
314:II. Allegretto
312:
311:
299:
294:
293:
292:
283:
282:
281:
279:
278:First movement
276:
248:
247:
238:
228:
215:
205:
129:
128:
126:
125:
122:
118:
116:
112:
111:
96:
92:
91:
81:
77:
76:
70:
66:
65:
60:
56:
55:
42:
34:
33:
26:
25:
21:
20:
13:
10:
9:
6:
4:
3:
2:
1960:
1949:
1946:
1944:
1941:
1939:
1936:
1935:
1933:
1923:
1913:
1909:
1896:
1888:
1887:
1884:
1878:
1875:
1873:
1872:Mozart effect
1870:
1868:
1865:
1863:
1860:
1858:
1855:
1854:
1852:
1848:
1842:
1839:
1837:
1834:
1832:
1829:
1827:
1824:
1822:
1819:
1818:
1816:
1812:
1805:
1802:
1799:
1798:Aloysia Weber
1796:
1793:
1792:Josepha Weber
1790:
1787:
1786:Cäcilia Weber
1784:
1781:
1778:
1775:
1772:
1769:
1766:
1763:
1760:
1757:
1754:
1751:
1748:
1745:
1742:
1739:
1736:
1733:
1730:
1727:
1724:
1723:
1721:
1719:
1715:
1705:
1704:
1700:
1698:
1697:
1693:
1691:
1688:
1687:
1685:
1681:
1675:
1672:
1670:
1667:
1665:
1662:
1660:
1657:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1632:
1630:
1627:
1625:
1622:
1620:
1617:
1616:
1614:
1612:
1608:
1602:
1599:
1597:
1594:
1592:
1589:
1587:
1584:
1582:
1579:
1577:
1574:
1572:
1569:
1567:
1564:
1562:
1559:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1539:
1537:
1534:
1533:
1531:
1527:
1523:
1516:
1511:
1509:
1504:
1502:
1497:
1496:
1493:
1481:
1478:
1476:
1473:
1472:
1469:
1463:
1460:
1458:
1455:
1454:
1452:
1448:
1442:
1441:major, K. 595
1433:
1431:
1429:
1424:
1423:
1421:
1419:
1415:
1409:
1406:
1404:
1401:
1399:
1396:
1394:
1393:major, K. 482
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1367:major, K. 456
1359:
1357:
1354:
1352:
1349:
1347:
1346:major, K. 450
1338:
1336:
1335:major, K. 449
1327:
1326:
1324:
1322:
1318:
1312:
1309:
1307:
1304:
1302:
1299:
1298:
1296:
1294:
1290:
1284:
1275:
1273:
1271:
1266:
1265:
1263:
1261:
1255:
1249:
1247:
1243:
1232:
1230:
1228:
1223:
1221:
1220:major, K. 238
1212:
1210:
1207:
1206:
1204:
1202:
1198:
1192:
1189:
1187:
1184:
1182:
1179:
1177:
1168:
1166:
1163:
1162:
1160:
1158:
1154:
1148:
1142:
1135:
1130:
1128:
1123:
1121:
1116:
1115:
1112:
1106:
1102:
1099:
1097:
1096:
1088:
1084:
1080:
1076:
1074:
1073:
1069:
1064:
1060:
1056:
1053:
1050:
1049:Hutchings, A.
1047:
1046:
1042:
1033:
1031:0-486-21271-8
1027:
1023:
1018:
1017:
1011:
1005:
1002:
995:
993:
991:
987:
983:
979:
975:
971:
967:
963:
952:
949:
941:
931:
927:
921:
920:
915:This section
913:
909:
904:
903:
897:
890:
889:
888:
882:
880:
872:
870:
840:
838:
796:
791:
789:
786:
775:
772:
764:
754:
750:
746:
740:
739:
735:
730:This section
728:
724:
719:
718:
712:
705:
704:
703:
695:
694:
693:
685:
684:
683:
675:
674:
673:
665:
664:
663:
655:
654:
653:
645:
644:
643:
635:
634:
633:
625:
624:
623:
615:
614:
613:
607:
605:
599:
585:
583:
543:
541:
525:
523:
511:
509:
475:
473:
455:
453:
451:
443:
441:
439:
435:
430:
418:
415:
407:
397:
393:
389:
383:
382:
378:
373:This section
371:
367:
362:
361:
356:
354:
333:
315:
297:
277:
275:
273:
269:
265:
261:
257:
253:
241:
232:
231:Allegro assai
229:
227:
218:
209:
206:
202:
197:
196:
192:
191:
190:
188:
184:
180:
176:
172:
168:
164:
160:
156:
152:
148:
144:
140:
136:
123:
120:
119:
117:
113:
109:
108:Allegro assai
105:
101:
97:
93:
82:
78:
74:
71:
67:
64:
61:
57:
53:
49:
45:
40:
35:
32:
27:
22:
17:
1857:Georg Nissen
1804:Sophie Weber
1780:Joseph Lange
1774:Franz Mozart
1701:
1694:
1596:Pet starling
1427:
1371:
1269:
1245:
1241:
1226:
1176:major, K. 39
1093:
1078:
1058:
1051:
1015:
1004:
959:
944:
938:January 2021
935:
924:Please help
919:verification
916:
886:
876:
844:
800:
782:
767:
761:January 2021
758:
743:Please help
731:
701:
691:
681:
671:
661:
651:
641:
631:
621:
611:
589:
547:
529:
515:
479:
459:
447:
425:
410:
404:January 2021
401:
386:Please help
374:
249:
239:
230:
216:
207:
193:
179:Johann André
134:
132:
107:
103:
99:
31:W. A. Mozart
1831:Freemasonry
1556:Nationality
1536:Biographies
1435:No. 27 in B
1387:No. 22 in E
1361:No. 18 in B
1340:No. 15 in B
1329:No. 14 in E
1277:No. 10 in E
1090:(in German)
1065:, New York.
962:Girdlestone
785:sonata form
450:Girdlestone
427:article on
1932:Categories
1814:Influences
1659:Symphonies
1546:Grand tour
1541:Birthplace
1428:Coronation
1242:Jeunehomme
1234:No. 9 in E
1214:No. 6 in B
1170:No. 2 in B
996:References
797:Exposition
604:401–410 F
522:207–210 G
476:Exposition
438:ritornello
353:media help
296:I. Allegro
167:Leopold II
44:Fortepiano
1821:Beethoven
1566:Scatology
1561:Residence
1529:Biography
978:Beethoven
732:does not
602:393–401 E
600:626aI/58)
592:384–390 G
590:379–384 A
518:194–201 G
434:arpeggios
375:does not
252:Hutchings
187:movements
171:autograph
163:Haydn set
124:orchestra
95:Movements
69:Catalogue
1895:Category
1740:(sister)
1734:(mother)
1728:(father)
1683:Editions
1571:Smallpox
1438:♭
1390:♭
1364:♭
1343:♭
1332:♭
1280:♭
1237:♭
1217:♭
1173:♭
1012:(1964).
974:crotchet
972:-quaver-
792:Analysis
444:Analysis
264:bassoons
80:Composed
1850:Related
1841:Salieri
1654:Sonatas
1092:in the
986:cadenza
753:removed
738:sources
464:16–24 B
396:removed
381:sources
272:strings
226:C major
195:Allegro
145:459 by
139:F major
115:Scoring
100:Allegro
98:Three (
85: (
63:F major
1908:Portal
1746:(wife)
1718:Family
1639:Operas
1634:Masses
1624:Dances
1586:Prague
1581:Berlin
1270:Lodron
1246:Jenamy
1227:Lützow
1077:
1028:
970:quaver
883:Themes
608:Themes
270:, and
266:, two
262:, two
258:, two
159:K. 464
155:K. 458
24:No. 19
1836:Haydn
1764:(son)
1758:(son)
1611:Music
1601:Death
1576:Italy
1083:Score
966:rondo
460:Bars:
268:horns
260:oboes
256:flute
121:Piano
1551:Name
1085:and
1026:ISBN
990:coda
873:Coda
736:any
734:cite
379:any
377:cite
151:1784
133:The
87:1784
83:1784
1143:by
1022:291
928:by
747:by
390:by
224:in
137:in
75:459
59:Key
46:by
29:by
1934::
1244:/
1081::
1061:.
1024:.
598:K.
274:.
189::
143:K.
141:,
106:,
102:,
73:K.
1910::
1514:e
1507:t
1500:v
1430:)
1272:)
1248:)
1229:)
1133:e
1126:t
1119:v
1034:.
951:)
945:(
940:)
936:(
922:.
774:)
768:(
763:)
759:(
755:.
741:.
417:)
411:(
406:)
402:(
398:.
384:.
355:.
240:4
217:8
110:)
89:)
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