By Michael Thomas Roeder

This lucid advisor strains the concerto's evolution over the main classes of song: baroque, classical, romantic, and twentieth century. The compositions of every very important composer are mentioned intimately, making this an invaluable spouse to the shape.

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Many of its features resemble the concerto-sonata form and it may be seen as a special application of that form to the rondo. This form can be described in the following way: 2 Refrain 1 The solo instrument usually begins the refrain, which recurs in the tonic key throughout the movement. It is usually characterized by a dancelike tunefulness, comprising distinguishable, independent elements like the ritornello, but with fewer thematic ideas. The orchestra normally concludes the refrain. Episode 1 This section is constructed along the lines of a sonata-allegro form exposition, with a first theme in the tonic key.

1, which had been published shortly before in 1763. Certainly, much of Bach's concerto style and form can be seen in Mozart's later concertos, while two of Mozart's three early concertos are in two movements, a plan used by Bach in both his concertos and sonatas. 4 From 1770 to 1773, Mozart, then in his teens, made three extended trips to Italy, accompanied by his father. These trips gave Mozart an intimate contact with Italian opera which profoundly influenced the young man. Not only was he commissioned to write several dramatic works for Italian audiences, but he also composed a number of symphonies in the lighter Italian manner using the typical Italian three-movement form, rather than the four-movement scheme common in Austria.

The Piano Concertos of the Late 1770s In January 1776, while still in Salzburg, Mozart shifted his attention to the piano concerto, writing three over the next three months. These three works are essentially galant in manner and, since they are relatively ordinary, are rarely played today. The three concertos are the intimate K. 238 in B-flat, K. 246 in C, composed for the amateur, Countess Antonia von Lützow, and the very light F Major Concerto for three keyboard soloists, K. 242, written for Countess Lodron of Salzburg and her two daughters who may have been pupils of Mozart.

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A History of the Concerto by Michael Thomas Roeder
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