Mozart Concerto 20

Music Minus One Piano
W.A. MOZART
Piano Concerto No. 21
in C major, KV467
Elvira Madigan
3072
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SUGGESTIONS FOR USING THIS MMO EDITION

w
E HAVE TRIED to create a product that

will provide you an easy way to learn and
perform a concerto with a full orchestra
in the comfort of your own home. Because
it involves a fixed orchestral performance,
there is an inherent lack of flexibility in
tempo and cadenza length. The following
MMO features and techniques will reduce
these inflexibilities 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 soloists 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 find 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-
ual tempi. Your personal rendition may

preclude a perfect fit 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 by the next track:button, your
CD will be cued to the orchestras re-entry.
When you as soloist are at the end of
the cadenza or other solo passage, the
second person can press the play4(or
pause;button) on the CD remote to allow
a synchronized orchestra 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 purposes. 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 mmomus@aol.com.
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MUSIC MINUS ONE
WOLFGANG AMADEUS MOZART
CONCERTO
3072
IN C MAJOR
FOR PIANO AND ORCHESTRA

KV467
COMPLETE MINUS
VERSION PIANO
TRACK TRACK
1
2
3
4
5
6
7
8
9
bk
bl
bm
bn
bo
bp
bq
br
bs
bt
ck
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cm
cn
co
cp
cq
cr
cs
ct
dk
dl
dm
dn
do
dp
dq
dr
ds
dt
ek
el
em
en
eo
ep
eq
er
es
et
fk
fl
SECTION
PAGE
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 274............................................................................... 23
Measure 321............................................................................... 26
Measure 351............................................................................... 28
After measure 396: Begin cadenza................................................ 31
Measure 397: End Cadenza: Orchestra re-entry............................ 34
II. Andante...................................................................................... 35
Measure 22................................................................................. 35
Measure 55................................................................................. 38
Measure 82................................................................................. 41
III. Allegro vivace assai...................................................................... 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 179: Orchestra re-entry after optional cadenza ................ 48
Measure 186: Tutti ..................................................................... 49
Measure 263: Orchestra re-entry................................................. 51
Measure 309............................................................................... 53
After Bar 425: Begin cadenza....................................................... 57
Measure 426: End cadenza.......................................................... 59
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MOZARTS PIANO CONCERTO IN C MAJOR, KV467

ELVIRA MADIGAN
measure of confusion hovers over the composition dates for Mozarts 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, besideswhat 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 works 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 atthat this composers brilliance was of the most profound order. To realize
that this magnificent 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 works 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 Mozarts new quartets
dedicated to that Classical master; participated in at
least a dozen private and public concerts; and had
to play his usual rle 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 premire 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 floor 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.
Mozart set KV467 in the ceremonial key of C
major, which certainly helps to make this one of
the composers brightest pieces of music. Even in its
slow, much more reflective second movement, there
is an atmosphere of radiant sunshine, charmingly
dappled, which shines forth beautifully. And like
its immediate predecessor, the dark D-minor Piano
Concerto, KV466, it displays a much more symphonic character than his previous piano concerti.
The first movement is lacking a tempo in the autograph, though it is generally accepted as an Allegro
maestoso. Its in this movement that we can fleetingly
find one of the concertos rare somber moments;
this is during the piano solo at measure 91, when a
G-minor theme is introduced. This is a theme which
closely resembles the first theme of the composers
Symphony No. 40 in G minor, which the composer
came to write three years later. Mozart often used
this G-minor key to signify epic tragedy, which was
not at all the aura of KV467. This explains why the
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
major.
Unquestionably one of the most romantic movements in any piano concerto composed by Mozartor
by any other composer, for that matteris the second
movement of KV467, the dreamlike Andante. Here,
Mozart masterfully merges marked dissonances and
muted strings with a fluid 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 identified with the 1967 Swedish
film Elvira Madigan, which drew its theme from
this movement. Now, ironically, this decreasingly
esteemed film is known mainly from its utilization of
this wonderful piece of music.
Here, in this Andante, Mozart is exposed on the
brink of the forthcoming period in art, Romanticism,
in which personal expression becomes paramount,
and in which Classicisms emphasis on symmetry and
balance became superceded by a much looser form.
In this Andantes extraordinary slowness, Mozart
single-handedly appears to be breaking with musics
past and present, and to be looking forward to an
entirely new sensibility.
The concertos third movement is an energetic
rondo that returns us to the more traditional
Mozartian world. This finale has a lively uphilldownhill main theme dressed in ceremonial pomp
eventually followed by an exhilarating central episode
that surprises us by focusing on the first six notes
of the main theme. In the end Mozart customarily
returns home to C major, in which the charming
theme that opens the movement ends it as well.
Although KV467 is considered by some to be
among Mozarts most demanding concerti for the
pianist, that is often not the reaction from even
moderately skilled pianists. For this concerto, in
its limpid beauty and form, possesses that goodnatured, inspiring quality that can effortlessly sweep
any player along from beginning to end.
Douglas Scharmann
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PREFACE TO THE 1886 BISCHOFF EDITION
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 & Hrtel edition of
the parts, an early Andr engraved edition of the pianopart, Richaults score-edition, the score-edition published
by Andr* in 1855, the new Breitkopf & Hrtel 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 the Notes. The following peculiarities in the autograph have not been adhered to in the present edition:
(1) As staccato-marks we find in part dashes, in part
dots. But it does not appear to have been the composers
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 the 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 cembalo-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:
[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 finally indistinct.
[Measure 325]. At first 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 refined by later corrections. From the
12th measure onward the bass originally read:
III. Allegro vivace assai
[Measures 105 & 107]. At first the viola-part read:

Later, in consideration of the e2 in the piano-part, the
half note g 2 was substituted. Here the score-editions are at
fault.
[Measure 293-294]. The bass figure was written at first
an octave higher.
I. (Allegro maestoso)
[Measures 91-95]. Originally, the second half of each

measure in the bass read like the first half, which gave rise
to various bad readings of the parts.
[Measure 104]. Figure in the bass:
[Measure 183]. Earlier form:
All heavily engraved slurs, dots and expression-marks

are found in the autograph. The editors additions are distinguishable by lighter (or smaller) engraving.
To Messrs. Conductor-in-Chief Taubert, Royal Librarian Dr. Kopfermann, 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 editions standard cadenzas by
Danish composer and pianist August Winding (1835-1899). However, the soloist chose to use Lipattis cadenza for the third movement, and we have
included that version in the Appendix on p. 61.]
*Wherever Andr is quoted, without special qualification, 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
Y1cm
WOLFGANG AMADEUS MOZART

KV467
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*Soloist uses cadenza by

Lipatti (see Appendix
p.61)
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61
APPENDIX
CADENZA
TO THE 3RD MOVEMENT
BY
LIPATTI
Ycl *continue from page 57
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Mozart Concerto 20

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Music Minus One Piano

MMO 3072 Music Book.indd 1

SUGGESTIONS FOR USING THIS MMO EDITION

E HAVE TRIED to create a product that

ual tempi. Your personal rendition may

MMO 3072 Music Book.indd 2-3

MUSIC MINUS ONE

WOLFGANG AMADEUS MOZART

FOR PIANO AND ORCHESTRA

MMO 3072 Music Book.indd 2-3

MOZARTS PIANO CONCERTO IN C MAJOR, KV467

that this magnificent concerto could have poured

MMO 3072 Music Book.indd 4-5

muted strings with a fluid melody, sung aria-like over

MMO 3072 Music Book.indd 4-5

PREFACE TO THE 1886 BISCHOFF EDITION

he principal source for this edition of the C-major

Below are quoted a series of earlier readings, which

[Measures 188-189]. Originally, both hands played in

The accompaniment by the string-quartet, requiring a

that is, g 2 instead of f 2 . Corresponding deviations 2 and 4

[Measures 12] et seq. In the Andante the accompanying

III. Allegro vivace assai

[Measures 105 & 107]. At first the viola-part read:

[Measures 91-95]. Originally, the second half of each

[Measure 183]. Earlier form:

All heavily engraved slurs, dots and expression-marks

Dr. Hans Bischoff

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FOR PIANO AND ORCHESTRA

WOLFGANG AMADEUS MOZART

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