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Mozart's piano concerto in D minor, K. 466 : questions of significance
Author
Cheng, Shirley Wai Yee
Supervisor
Dairianathan, Eugene
Abstract
My thesis begins from the observation that Mozart wrote only two of his 27 piano concertos in the minor key. This very small output of minor key piano concertos seems unusual, unless it is simply the result of the popular use of the major key in compositions written in the 18th century. Still however, the fact that Mozart wrote these concertos in the minor key suggest that there might be some special significance associated with the choice of key.
This study examined the possible significance of D minor in Mozart's Piano Concerto K.466. Three areas were pursued in this inquiry: 1) an analysis of the work itself from the score; 2) a study of the various associations of the minor key, as conceived by both 18th century and more recent theorist; and, 3) a study of the historical and social contexts surrounding the composition of the Piano Concerto K.466.
My investigation of the above three areas resulted in a perceived connection between the Piano Concerto in D minor and Mozart's operatic music. Following Martin Chusid's (1965/66) view that d minor had a particular association with vengeance and the supernatural in Mozart's operas, I found a positive correlation between the motives used in the first movement of the Piano Concerto in D minor and motives found in dramatic scenes in Don Giovanni. Later I uncovered evidence in John Rice (1989) to suggest that the Piano Concerto in D minor, and others written around the same time, may have functioned as a substitute for opera during the Lenten Season, the season in which it was forbidden in 18th century Vienna. This information seemed to provide a historical basis for the apparent dramatic association in the K.466. I concluded with the hypothesis that Mozart wrote the K.466 in order to express in concerto the emotions associated with operatic seems involving violence and vengeance.
This study examined the possible significance of D minor in Mozart's Piano Concerto K.466. Three areas were pursued in this inquiry: 1) an analysis of the work itself from the score; 2) a study of the various associations of the minor key, as conceived by both 18th century and more recent theorist; and, 3) a study of the historical and social contexts surrounding the composition of the Piano Concerto K.466.
My investigation of the above three areas resulted in a perceived connection between the Piano Concerto in D minor and Mozart's operatic music. Following Martin Chusid's (1965/66) view that d minor had a particular association with vengeance and the supernatural in Mozart's operas, I found a positive correlation between the motives used in the first movement of the Piano Concerto in D minor and motives found in dramatic scenes in Don Giovanni. Later I uncovered evidence in John Rice (1989) to suggest that the Piano Concerto in D minor, and others written around the same time, may have functioned as a substitute for opera during the Lenten Season, the season in which it was forbidden in 18th century Vienna. This information seemed to provide a historical basis for the apparent dramatic association in the K.466. I concluded with the hypothesis that Mozart wrote the K.466 in order to express in concerto the emotions associated with operatic seems involving violence and vengeance.
Date Issued
2000
Call Number
MT145.M7 Che
Date Submitted
2000