The concerto was written for Mozart to perform himself: Hutchings calls it "athletic", combining grace with vigour. It is scored for flute, two oboes, two bassoons, two horns, and strings.
First movement
The first movement is in cut time, and it is the only first movement of a piano concerto by Mozart to be written in cut time. The orchestra opens quietly with a prelude of 71 bars, wherein six orchestral themes are exposed, of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement. The piano then answers with its own exposition of 116 bars, starting with A and B, then introducing some new material, with free passages of arpeggios and scales: the scheme is ABxAyA Free D Free. The orchestra then returns on its own with its short first ritornello that introduces another theme, G: the scheme is AGAG. In the ensuing middle section yet another orchestral theme is introduced, H: the scheme is HAHAHA. This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free. Finally, the movement is brought to a close with the final ritornello : AGA Cadenza EF - hence the two closing themes of the prelude are finally heard again at the end.
Analysis
The analysis is based on, and expanded from the scheme of Hutchings, by reference to the score. Girdlestone's implied scheme differs somewhat.
Prelude (orchestra)
Bars:
1-16 A
16-24 B
24-36 C plus short passage connecting to D
37-54 D, plus subsidiary theme linking to E
54-62 E -first closing theme
62-71 F -second closing theme
Exposition
72-79 A
79-87 A
87-95 B, modulates to C major at end
95-99 x
100-105 x then short passage connecting to A
106-111 A, still in C
111-130 A, in d minor then modulates through suspensions through various keys
130-138 y in C major
138-148 y
149-164 A, modulates through various keys
164-167 linking passage similar to 32-36, in C major
168-171 D, in F major again
171-177 linking passage similar to 32-36
178-180 D
181-188 Free passage, based on the triplets of D, finishing on the shake at 178 on D, signifying the end of the exposition.
241-246 A, modulating to return to F major for the recapitulation
Recapitulation
247-254 A, in F major
255-262 A
262-273 B
273-278 A
278-285 A
286-297 A
297-305 y
305-315 y
316-330 A
330-334 transition passage to D, like 32-36
335-340 D, 338-340 linking passage by piano
340-347 subsidiary theme like 42-49
348-352 transition passage like 32-36 leading to D
353-359 D, 356-359 linking passage
360-366 A
367-368 A
369-370 A
371-378 Free passage, piano in broken chord triplets, leading to shake on g at 378 signifying the end of the recapitulation.
Final ritornello (orchestra apart from cadenza)
379-384 A
384-390 G
390-392 A
392 Cadenza
393-401 E
401-410 F
Themes
A \relative c
B \relative c'
C \relative c
D \relative c
E \relative c
F \relative c
x \relative c
y \relative c
G \relative c
H \new GrandStaff << \new Staff \relative c'' \new Staff \relative c >>
Second movement
This gentle movement is in a condensed sonata form, with an ABAB structure. Each of the two major themes, the first major, the second minor, is broadly presented and varied; Mozart slightly varies the second presentation in B to avoid exact repetition. The movement is closed with highly characteristic use of the woodwind in quiet rising scales.
Analysis
Exposition
1-10 A
10-14 B
15-20 Connecting passage, modulating through various keys back to C major
129-135 same, with piano, modulating to C major at end
135-136 G
136-141 connecting passage
141-146 H turning into free passage that leads back to A stays in C major
146-150 A
Coda
150-155 scales in orchestra
156-159 A - final, ornamented statement by piano, accompanied by the orchestral scales.
Themes
A \relative c''
Third movement
The movement, described by Girdlestone as the concerto's strongest movement, is in a broadly rondo form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece: quaver-quaver-crotchet, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch. This motif is in fact used very frequently throughout the piece, a technique similar to the motif development used by Beethoven in his Symphony No.5,. The orchestra then comes up with the second theme - a scalar passage which is then presented in a contrapuntal fashion. The piano remains silent during this time. Then the piano makes its re-entrance and starts off with runs. The orchestra provides continuous accompaniment with the main motif and different themes. At one point the opening material returns and the second theme is played again, though not in the same pitch or with the same instrumentation. The treatment is contrapuntal but somewhat looser than previously, the piano now playing along with the orchestra. A sweeping passage by piano and then by orchestra leads into the cadenza which provides a temporary break from the relentless exhilaration of the movement. After the cadenza comes the coda where the main theme is built up bit by bit to a conclusion. The piece closes with three emphatic chords played by all instruments, including piano. All in all this is one of Mozart's most miraculous movements - the balance between the extreme light-heartedness of the melodies and the formal complexity of the motifs and the counterpoint being simply astounding.
