Piano Concerto in a Major, K. 488

Mozart completed the flabby Concerto in A study, K. 488, in March 1786 and it is a graceful piece in three movements. It utilize a sm either orchestra with two flutes, two clarinets in A, two bassoons, and two horns in A, a want with the coarse string orchestra. The first movement embodies the form called a sonata form with double expounding. This form is common in concerti and one feature of this form is that the first expo does not end with a double parapet and repeat sign indicating a literal repeat of the expo.Instead the first exposition is for the orchestra without the soloist, and does not tone up to and pause in the preponderant, but stays in the tonic recognize throughout. When the soloist enters a secondly exposition begins which does modulate to the dominant key (or relative major if the work is in a minor key), and the second exposition does indeed cadence in the dominant. The only other variance from a standard (non-concerto) sonata form is the traditional istic cadenza, which occurs near the end of the recapitulation of the movement. The second theme is presented following a transitional section.In the first exposition it is in the key of A, but in the second exposition it is heard in the dominant key of E Major. This phrase ends with a half cadence, and the following phrase ends with a PAC, creating a double tally period. The law of closure theme is more intense in character and features interplay between the winds and strings as salutary as frequent use of the borrowed subdominant chord. It includes a number of different melodic ideas and concludes with a strong heartbeat PAC in A Major in meter 62. The second exposition begins in measure 67 with the first theme stated by the solo pianist.The major difference in this exposition is the modulation to the dominant key of E Major, which takes place in the Transition section in measures 82-98. This second exposition ends in a surprising way in measure 142 with the half cadence loc omote on the fourth beat of the measure and the music abruptly ceasing, creating a dramatic pause that is followed by an entirely new theme, which begins the development section. This new theme is in E Major and provides virtually all of the melodic harmony heard throughout the development section.Following this embellished theme in E Major, the music begins to shard this new theme and moves into key areas associated with the key of A minor as opposed to A Major. The keys touched(p) on include E minor, C Major, F Major, and D minor. An especially nice passage is anchor in mm. 170-178. It features the clarinet and flute in a canon based on the new theme, while the soloist maintains a running sixteenth note figure. Harmonically it begins in the key of D minor and traces the circle of fifths to a cadence on an E major chord in measure 178.Since E Major is the dominant chord of A Major this initiates a prolongation of the dominant of A Major in measures 178-189. A sort of mini-cadenz a occurred in 189-198, which leads to the Recapitulation beginning in measure 198. The Recapitulation restates all of the themes heard in the exposition, now all in the key of A Major, with the soloist and orchestra interacting, unlike the first exposition. A particularly long Coda section begins in measure 261 with the reintroduction of the development sections New theme, presented now by the soloist alone, and in the key of A Major for the first time.Like the beginning of the development section, including the dramatic pause, it is followed by the unflustered restatement of the New theme by the orchestra (290). This breaks off though and leads through a series of forte chords to the traditional tonic 6/4 chord paving the way for the cadenza. The cadenza is fundamentally a greatly expand prolongation of the V chord. Following the cadenza the orchestra enters in a forte tutti statement with material drawn from the closing theme first presented in measure 49. A decisive PAC in A Maj or occurs in m. 309 followed by a prolongation of the tonic chord to the movements end.