Music Minus One Piano
W.A. MOZART Piano Concerto No. 21 in C major, KV467 “Elvira Madigan”
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SUGGESTIONS
w
E HAVE TRIED to
FOR FO R USING THIS MM MMO O EDITION
create a product that will provide you an easy way to learn lear n and perform a concerto with a full orchestra in the comfort of your own home. Because it involves involves a xed orchestral performance, there is an inherent lack of exibility in tempo and cadenza length. The following MMO features and techniques will reduce these inexibilities and help you maximize the effectiveness of the MMO practice and performance system: Where the soloist begins a movement solo, we have provided an introductory measure with subtle taps inserted at the actual tempo before the soloist’s entrance. Chapter stops on your CD are conveniently located throughout the piece at the beginnings of practice sections, and are cross-referenced in the score. This should help you quickly nd a desired place in the music as you learn the piece. Chapter stops have also been placed at orchestra entrances (after cadenzas, for example) so that, with the help of a second person, it is possible to perform a seamless version of the concerto alongside your MMO CD accompaniment. While we have allotted what is generally considered an average amount of time for a cadenza, each performer will have a different interpretation and observe individ-
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ual tempi. Your personal rendition may preclude a perfect “t” within the space provided. Therefore, by having a second person press the pause ;button on your CD player after the start of each cadenza, followed follow ed by the next track:button, your CD will be cued to the orchestra’s re-entry. re-entry. When you as soloist are at the end of the cadenza or other solo passage, the second person can press the play 4 (or pause;button) on the CD remote to allow a synchronized orchestra re-entry re-entry.. Regarding tempi: again, we have observed generally accepted tempi, but some may wish to perform at a different tempo, or to slow down or speed up the accompaniment for practice practi ce purposes. purpose s. You You can purchase from (or from other audio and electronics dealers) specialized CD players which allow variable speed while maintaining proper pitch. This is an indispensable tool for the serious musician and you may wish to look into purchasing this useful piece of equipment for full enjoyment of all your MMO editions. We want to provide you with the most useful practice and performance accompaniments possible. If you have any suggestions for improving the MMO system, please feel free to contact us. You can reach us by e-mail at
[email protected].
MUSIC MINUS ONE
WOLFGANG AMADEUS MOZART
CONCERTO
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IN C MAJOR
PIANO AND ORCHESTRA FOR P KV467
COMPLETE
MINUS
VERSION
PIANO
TRACK TRACK
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I. (Allegro maestoso). .............. ............................. ............................. ............................ ............................. ................. 7 Oboe intro to measure 69 ............. ........................... ............................. ............................. .................... ...... 9 Measure 80: Orchestra re-entry ............. ............................ ............................. ....................... ......... 10 Measure 107: Tutti ............... ............................. ............................ ............................. .......................... ........... 12 Measure 122: Orchestra re-entry .............. ............................ ............................. ..................... ...... 12 Measure 136: Tutti ............... ............................. ............................ ............................. .......................... ........... 13 Measure 177: Orchestra re-entry .............. ............................ ............................. ..................... ...... 16 Measure 194: Orchestra re-entry .............. ............................ ............................. ..................... ...... 18 Measure 231: Orchestra re-entry .............. ............................ ............................. ..................... ...... 19 Measure 266: Orchestra re-entry .............. ............................ ............................. ..................... ...... 22 Measure 274............... 274............................. ............................. ............................. ............................. ..................... ...... 23 Measure 321............... 321............................. ............................. ............................. ............................. ..................... ...... 26 Measure 351............... 351............................. ............................. ............................. ............................. ..................... ...... 28 Measure 365: Orchestra re-entry .............. ............................ ............................. ..................... ...... 29 Measure 384: Orchestra re-entry .............. ............................ ............................. ..................... ...... 30 After measure 396: Begin cadenza..................................... cadenza................................................ ........... 31 Measure 397: End Cadenza: Orchestra re-entry........................ re-entry............................ .... 34
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II. Andante............. ........................... ............................ ............................. ............................. ............................ ................ .. 35 Measure 22............ 22........................... ............................. ............................ ............................. .......................... ........... 35 Measure 55............ 55........................... ............................. ............................ ............................. .......................... ........... 38 Measure 82............ 82........................... ............................. ............................ ............................. .......................... ........... 41
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vivace assai ............................ III. Allegro vivace .......................................... ............................ ............................ .............. 43 Measure 22: Orchestra re-entry after optional eingang/cadenza...... 43 Measure 28: Tutti .............. ............................. ............................. ............................ ............................ .............. 43 Measure 74, second division of the downbeat, at orchestra re-entry 45 Measure 110: orchestra re-entry ............... ............................. ............................. ..................... ...... 46 Measure 162: Orchestra re-entry .............. ............................ ............................. ..................... ...... 48 Measure 179: Orchestra re-entry after optional cadenza .............. ................ .. 48 Measure 186: Tutti ............... ............................. ............................ ............................. .......................... ........... 49 Measure 263: Orchestra re-entry..................... re-entry................................... ............................ .............. 51 Measure 309............... 309............................. ............................. ............................. ............................. ..................... ...... 53 After Bar 425: Begin cadenza.................... cadenza.................................. ............................. ..................... ...... 57 Measure 426: End cadenza......................... cadenza........................................ ............................. .................. .... 59
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MOZART’S PIANO CONCERTO IN C MAJOR, KV467 ‘ELVIRA MADIGAN’
A
measure of confusion hovers over the composition dates for Mozart’s Piano Concerto No. 21 in C Major, KV467. While Mozart has been criticized for not keeping a cleaner and more accurate catalogue of his works, one is tempted to say, rather, that it is all the more remarkable he came as close as he did in keeping his catalogue even remotely systematized. After all, his output was overwhelming and his composition-speed phenomenal. And, besides—what if Mozart had indeed kept a better, thoroughly accurate catalogue? How then would the legion of Mozartian scholars these past two centuries have spent their time and earned their income? The autograph manuscript of KV467, which resides in the Morgan Library in New York, is dated “nel Febraio 1785” (“in February 1785”), while in his catalogue Mozart had entered 9 March 1785. This confusion can be easily settled if we assume the February 1785 date refers to the month Mozart began the composition while 9 March was the exact date of completion. Since this latter date happened to be the day before the work’s initial performance, on 10 March 1785, we can also assume Mozart worked under the gun composing the concerto up to the very last moment. Which is all to say that Mozart must have composed this masterpiece of the piano concerto form in a short span of about twenty-seven days. This came right after the completion of his previous masterwork, the Piano Concerto No. 20 in D minor, KV466, on 10 February. The almost total lack of revisions in the autograph score of KV467 illustrates for us what books and lectures about Mozart can only hollowly scratch at—that this composer’s brilliance was of the most profound order. To realize
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that this magnicent concerto could have poured forth from any human with such little apparent effort is to understand the meaning of true genius. We must not for a moment assume that this busiest of composers had sequestered himself during the four weeks of the work’s composition. Far from it. Mozart taught pupils on a daily basis during this period; endured a long, draining visit from his unusually demanding father, Leopold; held a quartet-party to play through with his father and with Franz Josef Haydn some of Mozart’s new quartets dedicated to that Classical master; participated in at least a dozen private and public concerts; and had to play his usual rôle of husband and breadwinner. With this schedule it is no wonder Mozart found so little time for revising his works. What is more remarkable is that he found the time to compose anything at all. But compose Mozart did, as was demanded by the desperate need to pay his eternally mounting debts. Leopold reported that his son took in 559 gulden for the concerto, a sum that must have seemed good enough to the composer at the time, though it reeks of absurdity now. A handbill announcing the première of KV467 on 10 March 1785 states that Mozart was to play the work himself, which would explain why once again there are no surviving cadenzas by the composer himself, as he certainly would have improvised them during his performance. The handbill also states that the concerto was to be played on an “especially large Forte piano pedale.” This interesting instrument had been custom-built by Mozart for his Viennese concerts, and he used it to reinforce the lower notes in his piano concerti and in improvising fantasias. It was essen-
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tially a legless fortepiano that lay on the oor underneath his usual piano. He played it with the feet by means of a pedal-board, very much like an organ is played. Since Mozart was a skilled organist, playing such an odd instrument must have come easily to him.
muted strings with a uid melody, sung aria-like over continuous triplets and pizzicato strings, creating a deceptively simple, magical sound which hangs suspended in the heavens. This Andante has for many years been identied with the 1967 Swedish lm Elvira Madigan, which drew its theme from this movement. Now, ironically, this decreasingly Mozart set KV467 in the ceremonial key of C esteemed lm is known mainly from its utilization of major, which certainly helps to make this one of this wonderful piece of music. the composer’s brightest pieces of music. Even in its Here, in this Andante, Mozart is exposed on the slow, much more reective second movement, there brink of the forthcoming period in art, Romanticism, is an atmosphere of radiant sunshine, charmingly in which personal expression becomes paramount, dappled, which shines forth beautifully. And like and in which Classicism’s emphasis on symmetr y and its immediate predecessor, the dark D-minor Piano balance became superceded by a much looser form. Concerto, KV466, it displays a much more sym- In this Andante’s extraordinary slowness, Mozart phonic character than his previous piano concerti. single-handedly appears to be breaking with music’s The rst movement is lacking a tempo in the auto- past and present, and to be looking forward to an graph, though it is generally accepted as an Allegro entirely new sensibility. maestoso. It’s in this movement that we can eetingly The concerto’s third movement is an energetic nd one of the concerto’s rare somber moments; rondo that returns us to the more traditional this is during the piano solo at measure 91, when a Mozartian world. This nale has a lively uphillG-minor theme is introduced. This is a theme which downhill main theme dressed in ceremonial pomp closely resembles the rst theme of the composer’s eventually followed by an exhilarating central episode Symphony No. 40 in G minor, which the composer that surprises us by focusing on the rst six notes came to write three years later. Mozart often used of the main theme. In the end Mozart customarily this G-minor key to signify epic tragedy, which was returns home to C major, in which the charming not at all the aura of KV467. This explains why the theme that opens the movement ends it as well. G-minor theme is not heard again in the concerto, as it is quickly banished by a series of piano runs that lead to the happier and more appropriate key of G Although KV467 is considered by some to be major. among Mozart’s most demanding concerti for the Unquestionably one of the most romantic move- pianist, that is often not the reaction from even ments in any piano concerto composed by Mozart—or moderately skilled pianists. For this concerto, in by any other composer, for that matter—is the second its limpid beauty and form, possesses that goodmovement of KV467, the dreamlike Andante. Here, natured, inspiring quality that can effortlessly sweep Mozart masterfully merges marked dissonances and any player along from beginning to end.
—Douglas Scharmann
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PREFACE TO THE 1886 BISCHOFF EDITION†
T
he principal source for this edition of the C-major Concerto was the autograph of the score, belonging to Conductor-in-Chief W. Taubert. Besides the above, I collated the old Breitkopf & Härtel edition of the parts, an early André engraved edition of the pianopart, Richault’s score-edition, the score-edition published by André* in 1855, the new Breitkopf & Härtel edition of the score (Series XVI, 21), and other modern editions. The autograph is dated “Febraio 1785.” Although it contains many passages which are “written over,” the text is, with few exceptions, nowhere doubtful. Some disputed points are discussed in t he Notes. The following peculiarities in the autograph have not been adhered to in the present edition: (1) As staccato-marks we nd in part dashes, in part dots. But it does not appear to have been the composer’s intention to indicate different degrees of abbreviation. (2) The short appoggiaturas, counting among them those which, in the livelier movements, admit of an execution as sixteenth-notes, are written as small sixteenthnotes, or (more rarely) as thirty-second notes. There is no apparent reason for making a distinction between the two. The relatively long appoggiaturas in t he Andante are given in our text, in conformity with the autograph, as eighthnotes. (3) In the Tutti the direction “col Basso” is almost invariably given in the cem balo-part. As this direction has become meaningless in our day, there had to be made, at the closes of some of the Soli , certain slight alterations, giving to both right hand and left a quarter-note for the last chord; whereas Mozart had written an eighth-note for the connection with the orchestral bass. It should be observed that early editions do not always notice the places where the direction “col Basso” is intentionally omitted.
Below are quoted a series of earlier readings, which later made way for the versions contained in our text:
I. (Allegro maestoso)
[Measures 91-95] ‡. Originally, the second half of each measure in the bass read like the rst half, which gave rise to various bad readings of the parts. [Measure 104]. Figure in the bass:
[Measure 183]. Earlier form:
[Measures 188-189]. Originally, both hands played in octaves, thus:
The accompaniment by the string-quartet, requiring a change in the passage, appears to have been added later. [Measure 254]. The last beat read, originally:
that is, g 2 instead of f 2 . Corresponding deviations 2 and 4 measures further on. Correction nally indistinct. [Measure 325]. At rst written in both staves an octave higher. [Measures 357-358]. Originally, the left hand played unisono with the bassoon-parts.
II. Andante [Measures 12] et seq. In the Andante the accompanying parts were frequently rened by later corrections. From the 12th measure onward the bass originally read:
III. Allegro vivace assai [Measures 105 & 107]. At rst the v iola-part read:
Later, in consideration of the e 2 in the piano-part, the half note g 2 was substituted. Here the score-editions are at fault. [Measure 293-294]. The bass gure was wr itten at rst an octave higher.
All heavily engraved slurs, dots and expression-marks are found in the autograph. The editor’s additions are distinguishable by lighter (or smaller) engraving. To Messrs. Conductor-in-Chief Taubert, Royal Librarian Dr. Kop fermann, and Dr. Erich Prieger, special thanks are due for so kindly furnishing material for the revision of the text.
—Dr. Hans Bischoff Berlin, 1886.
†[This MMO edition utilizes the 1886 Bischoff edition as its source; Mozart left no cadenzas, and we reproduce this edition’s standard cadenzas by Danish composer and pianist Aug ust Winding (1835-1899). However, the soloist chose to use Lipatti’s cadenza for the third movement, and we have included that version in the Appendix on p. 61.] *Wherever André is quoted, without special qualication, the score-edition is meant. ‡[Bischoff originally referred to pages from another edition; we have substituted the proper measure numbers in italics and brackets for easy reference.] MMO 3072
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CONCERTO IN C MAJOR
FOR PIANO AND ORCHESTRA
‘ELVIRA MADIGAN’
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WOLFGANG AMADEUS MOZART KV467
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*Soloist uses cadenza by Lipatti (see Appendix p.61) Ycl
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APPENDIX CADENZA TO THE 3RD MOVEMENT BY LIPATTI
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