Mozart completed this work in Vienna on March 24th, 1786. He was experiencing the peak of his creativity and was also working on many other major pieces like Le nozzed di Figaro, piano concertos K482 in E flat major and K 488 in A major.
Concerto no.24 is very different from no.22 and no.23. The 2 piano concertos in major keys met the expectations of traditional concertos. The first movement of concerto no.24’s distinctiveness was balanced by the second movement’s simplicity (E flat major). The third movement is a variation in C minor.
Mozart wrote 27 piano concertos, only 2 of them are in minor keys—no.20 in D minor and no.24 in C minor. However, no.20 ends with D major in the last ...view middle of the document...
The orchestra theme 1 was presented again in an extended manner from m.13-m.27. The harmony progression is: C minor: i-VI6-i- G minor: vii07-C minor: vii07-F minor: vii07-B flat minor: vii07-C minor: vii042-i64-N6- i64- vii042-i64- N6- i64- vii042-G+65. He used a lot of elisions, and he used this method very often for modulations in this work.
The following transition 1, m.28-34, is based on V(7)-i-V progression. The material is from the orchestra theme 1, m.5 and 6, but in an inversive direction. Transition 2, m.35-44, contains a series of sequences. The rhythm pattern and leaping upward melody is correlated to the material in m.5 and 6. The harmonic progression is C minor: V-iv-B flat major: V7-E flat major: V42-C minor: V7-VI-B flat major:vii07-C minor: vii- vii07-i. He also used elisions in this passage.
M.44-62 is another orchestra theme (orchestra theme 2), it features in the downward C minor scale dialogue between flute and bassoon, the harmonies are simply V7-I chords. The second part of this theme (m.52-62) starts with oboe’s 2 bar melody which is imitated by clarinet in the flowing sequence. The harmonic progression is F minor: V7-i-E flat major:V7-I-IV-vii0=C minor: ii-V7-i-III-iv6-i-IV-VI-ii6-V64-V7-i. It basically stays in C minor with brief applied chord and modulations.
The orchestra theme 1 appears again in m.63-73, in a slightly abbreviated manner (2 bars shorter than its first appearance) and ends on VI (deceptive cadence). Transition 3 (m.74-91) has dialogues of downward diatonic scales and imitations of upward chromatic scales between different instruments. Reminds us of orchestra theme 2 and the chromaticism of orchestra theme 1. The harmonic structure is: A flat major: V65-I- V65-I-B flat major: V65-I-C minor: V65-i-V7- V65-i-V7- V65-i-VI-iv-vii065-i6-V65-i-ii65-ii7-V7-i.
Transition 4, m.92-99 features in dotted rhythms that have appeared previously in orchestra theme 1. The harmonic progression is C minor: i-VI-iv-vii07 of V-V64-V7-i. Its strong character provides a firm ending of the orchestral ritornello.
The solo exposition starts at m.100, the primary theme which is played by the soloist, m.100-118, has the characteristic leaping upwards melodic figure (m.100,104,108 and 109’s last note to 100’s first note) that appeared in orchestra theme 1 and downward diatonic scales (m.101 and 105) that appeared in the orchestra theme 2. The harmonic structure of the primary theme is: C minor: i6-vii065-ii42-V65-vii0-i-vii07-i-ii65-ii43-ii65-V65 of V-V64-V7-i.
After the primary theme, the orchestra theme 1 appears again (m.118-135), the orchestra played the first 6 bars then the soloist played the main melody with the orchestra providing the harmonic background. The harmonic structure from m.123 is: F minor: vii07-i6- vii07-i6-D flat major: V7-E flat major: vii043-i6- vii043-i6-Ger+65-V.
The harmonies progress to V of E flat major and transition 5 is based on V(7) of E flat major. There is a pedal note B flat...