Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific … Read Full Bio ↴Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".

Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.

While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.

Concerto for Piano No. 22 in E-flat major K. 482: I. Allegro
Wolfgang Amadeus Mozart Lyrics

We have lyrics for these tracks by Wolfgang Amadeus Mozart:

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave Verum Corpus K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…

Communio Lux Aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
I. Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
III. Sequentia: / Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%3A Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …

Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …

The lyrics are frequently found in the comments by searching or by filtering for lyric videos

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Most interesting comments from YouTube:

@samrose565

3y↑14

I am fairly new at this and there is no analysis of the Rondo in III. so I tried to find where each section of the Rondo is. Please correct me if I'm wrong.

A: 23:19
B: 23:38
A: 23:58
C: 25:43
A: 26:44

(Then the rest goes off of Rondo form)

@loivo5707

Close! From my analysis, this movement actually follows Sonata ABACAB’A Rondo form.

EXPOSITION:
A (E-flat major): 23:19
Transition: 24:41
B (B-flat major): 25:43
Re-transition: 26:40
A (E-flat major): 26:44
Transition: 27:00

 DEVELOPMENT:
C (A-flat major): 27:36
Re-transition: 29:53

RECAPITULATION:
A (E-flat major): 30:51
Transition: 31:14
B’ (E-flat major): 31:56
Cadenza (essentially acts like a re-transition): 32:44
A (E-flat major): 34:10
Coda: 35:20

In my opinion, this is a masterpiece in form - a perfect combination of sonata and rondo form! One of my absolute favorite works.

@loivo5707

@@marionajuncaxaus8260 Of course! This is a very unique movement (form-wise) in comparison to his other concerti, but still adheres to sonata form. Here is my detailed analysis:

EXPOSITION (0:00):
Orchestral introduction/exposition (E-flat major): 0:00, lays out thematic material that will be used throughout the movement.
- Primary theme (P1) 0:00
- Secondary theme (S1) 1:31
Soloist introduction (new thematic material, P2): 2:20
P1 (E-flat major): 2:48
Transition: 3:10
“Transition 2” (B-flat minor): 3:49, this was supposed to be where the modulated B1 theme comes in (in B-flat major) but instead it presents new thematic material that essentially acts as a part of the transition.
S2 (B-flat major): 4:32
Essential expositional closure (EEC): 5:05
Codetta: 5:51

DEVELOPMENT: (6:23)
Re-transition: 7:26, dominant pedal

RECAPITULATION: (7:46)
P1 (E-flat major): 7:46
There’s no clear transition, but I think the orchestral tutti acts as one.
S1 (E-flat major, finally shows up!): 9:13
S2 (E-flat major): 9:44
EEC: 10:15, probably the most drawn out cadence until K. 503 haha

CADENZA: 10:48

CODA: 12:28

The cool thing about this movement is that there are soloist-specific themes that the orchestra does not introduce in the introductory exposition (A2 and B2). Also the B1 theme is never played in the new key (B-flat major) and there are themes in the exposition that the soloist doesn’t play until the recapitulation. I absolutely adore this concerto!

@amerrylittlemonarch

3y↑6

Bad take, buddy. Though I wholeheartedly disagree with ANYONE who says it's simple and "cliche", I think lots of Beethoven works display this kind of effortless technique, too. Not to mention the increased counterpoint, harmonic intricacy, and innovation that he brought to the table. What makes you say that Beethoven hammers you over the head with his technique? To me, a lot of his music is miles above Mozart in terms of elegance and sheer craftsmanship.

Guess what? The score videos of Beethoven works are even better than this, because they highlight his superior counterpoint and ability to blend in said fugal material with ingenious economy and complexity. Listen to Op.131. The first movement features retrograde, augmentation, stretto, and almost any other technique you can think of. But it doesn't sound obtrusive and, for me, is one of the most beautiful works ever composed.

What about the Eroica? The counterpoint of the last movement is divine, and is put together with incredible craftsmanship. The first movement is full of harmonic intrigue, surpassing anything Mozart ever wrote for orchestra (and he was in his early thirties when he wrote it!).

I am aware that some works of his are less effortless than others. But maybe this effort was worth it. In every second of the Ninth I can feel some powerful emotion or beatific melody. I can't experience this with Mozart; for me, Beethoven reached a spiritual and compositional level that even his predecessor couldn't surpass.

Take the Ghost Trio's second movement, for example. It reaches levels of sadness and despair, yet is joined by the most inspiring optimism. It is Beethoven's ability to make light out of darkness, darkness out of light, and develop his ideas magnificently that makes me count myself as one of his greatest admirers.

Not to mention his musical humor! Listen to the 1st Movement of the 16th Sonata and tell me it isn't peculiarly entertaining.

Regardless, I would venture to say that the bassoon duet from the 4th Movement of the Ninth is far greater than this, and it's also in the middle of a movement.

@amerrylittlemonarch

2y↑1

@Nacho Lago "arent you again the young Beethoven that likes maths and talks with Daniel Famini?"

Yes, I am. Btw it's Fahimi.

"I thought you loved Mozart, you didnt do him justice in that long comment, like i could just say that Mozart's music is Divine and so beautiful that it transcends Beethovens innovations, and grandiur, and piano virtuosity.

But at the same time i could say i agree with you and i think Beethoven is more spiritual and touching than Mozart, altough less melodically inspired (lyrical melodies not thematic development), but they had different approaches and objectives, Beethoven didnt want to compose lirycal melodies like Mozart and Mozart didnt want to compose thematichally."

I LOVE MOZART very much. Sorry for my brashness, I was just very angry towards the OP (a clear Mozart cultist). I hate Mozart cultists because they pretend like Mozart is the best and nobody can equal him, and in the process dismiss other geniuses like Beethoven. I completely agree with you, and I am sorry for bashing Mozart like this. I tend to get very triggered when people insult Beethoven because, like you said, he was just as great as Mozart.

This "Derby25" guy has a reputation for pissing me off.

However, I disagree with your notion that Beethoven wasn't interested in composing lyrical melodies. I find most of his melodies interesting from a contour and ear-based perspective, and he was quite well-versed in this regard. I do agree that his real genius was development, though.

Mozart also has GREAT development sections. Just about any mature piano concerto and any mature string quartet (after 16 especially) has phenomenal fugal writing, orchestration, or development. K. 546 is astonishing!

"But what i really think is they are equally great composers. Both better than any other composer from any period except Bach."

I would add Handel, Zelenka, and Wagner.

Thank you!

All comments from YouTube:

@loivo5707

1y↑14

For me, this is one of Mozart's greatest works! It's basically all his best genres/forms condensed into one work: concerto, keyboard virtuosity, wind serenade, opera, theme and variations, major/minor contrast, and so much more.

@theodentherenewed4785

4y↑63

This is such a great concerto. I wish more music was composed with such simplicity, clarity of melodies.

@paolots

3y↑4

it is necesary

@nunziomeatballs

3y↑6

Part of the reason why there isn’t much like this is because it’s so difficult to unfortunately. We need it to become mainstream again in order for these individuals to appear again, unless some “freak” can pop up randomly and create these masterpieces .

@sapientisat8439

3y↑1

paolo t.s. It is impossible. One humanity - one genius level Mozart. No more.

@klop4228

2y↑3

There is a fair amount like this nowadays, to be fair. It's different, stylistically, but there's a lot of very melodic music still being produced.

@danielbrissenden2555

2y↑4

If only writers could embellish and integrate their themes like Mozart did for music! Quite an amazing man! Just to point out a fact that may be annoying to some of you-- Ivy League schools regularly take votes on "the smartest person who ever lived". Lately, it's a dead heat race between Archimedes of Syracuse, Leonardo Da Vinci, and Einstein. No one ever thought of putting Mozart on the list. He belongs there.

2 More Replies...

@jeffaugust8249

23w↑1

The second movement is perhaps the most beautiful piece of music ever written!

@Fumozart

23w↑2

I love this concerto very very much! The 2nd movement is also a gem, a melancholy, a nostalgic one; it is a very modern sounding one. Thank you so much!

@kirvingg1681

4y↑55

27:37 - 29:55 impossible to describe how I feel when I listen to this part, is how to hear the voice of God, I´m crying right now

@yuezhang273

4y↑7

Can't agree more, I have the same felling!

@sgwinenoob2115

3y↑6

It echoes "Contessa Perdono" from the final act of Le Nozze

@riverwildcat1

3y↑2

The Voice of God. We praise Him by listening and loving.

@johncobb3506

3y↑6

Having been a fan of this concerto most of my life, I sampled this passage first, looking forward to some flowing tears. I was surprised that there were none. Perahia's performance of this section is one of the less effective ones that I have heard, mainly because when the big emotional moment occurs, he distracts the brain by playing excessive improvised piano ornamentation on top of the beautiful melody and harmony, almost nulling the effect. I wonder: was he bored at not having enough to do there?

@alarechercheduson

🤔

2 More Replies...

@ceciliacorson1804

2y↑4

24:09 Played in my head when I could smell and taste again during my covid recovery.

@burakunsal7499

3y↑15

The opening theme of the third movement is so delightful, I can not explain why I enjoy it so much, as Salieri says in the movie, 'on the page it looked simple, almost comic' but has such a charm, it just fills me with joy, BAB BA BAB BA BAAAA BA, BA BAB BA BAB BA BAAAA BA, I don't know what it is seriously, why do I like it so much, I just want to skip on the road listening to it just smiling, thank you Herrr Mozart what can I say, you genious you!

@TGMGame

3y↑2

The music he was referencing was from the third movement of (still Mozart) the "Gran Partita in Bb Major".

@burakunsal7499

3y↑1

@TheGamerKlak Variety Channel Yes , I meant this compostion makes me think of the same thing, sorry for thr cofusion

@TGMGame

@Burak Ünsal it's ok. I can see what your saying about it

@KneeJerkish

1y↑1

Each and every instrument gets its moment to shine in the first movement.

@volcanothunderpuppet

23w

The complete mood and tempo transition to the andantino cantabile section of the 3rd movement is nothing short of genius. I get lost in it and completely forget I’m listening to a concerto. It’s like having a serenade in the middle of an orchestral piece and it is sublime.

@_Athanos

3y↑5

21:45 - 23:19

Too much beauty

@beeshin9945

3y↑4

Mozart is the best melody maker

@ThaSchwab

2y↑14

24:43 to 24:56 is one of the best chord progressions in all classical music

@andrepapillon

2y↑1

I-ii7-V-I-IV-V-I

@user-wn1dd8ls2u

3y↑10

17:00 le nozze di Figaro

@nastasjamiljkovic7646

2y↑1

every part of this concerto is interesting, mozart was really something else. there are always similarities between his works but every work is a masterpiece and you can listen to it on repeat, which is still unexplainable to me but at the same time amazing!

@wolfie8748

3y↑2

One of the best!

@danielbrissenden2555

I just get visions of Boucher paintings when I hear Mozart. Life was once simple. Sigh. Work hard, drink heartily, and make a lot of love.

@matthewferguson7084

2y↑2

And lots of powder not a lot of showers

@williamvinct

2y↑1

Totally love this after the K466!!!!! ❤❤❤❤

@weiweipeng3633

27w

Love Mozart music !! ❤

@christopheschollaert6360

3y↑2

Love that version.
And the cadenza.

@marionajuncaxaus8260

could you please tell me in which minute is the cadenza?

@kellytm5187

@sunny daays 10:45

@wolfie8748

4y↑3

Maestro!

@htr98

3y↑7

OMG HUMMEL!!! Beautiful Cadenzaa!! Love this composer

@marionajuncaxaus8260

in what minute is the cadenza?

@htr98

@sunny daays 10:48

@mduftube

1y↑2

Man, this guy knows how to play Mozart

@user-nf8bz6fz9o

3y↑4

My favorite piano concerto !

@petermerelis

you have great taste

@diegomicheledefraga3623

4y↑5

Magical concerto!!

@authenticmusic4815

4y↑2

Woahhhh the cadenzaaa

@NovicebutPassionate

4y↑1

Splendid!

@ooolegoo857

3y↑3

movement 1st's cadenza is world's best!

@marionajuncaxaus8260

could you please tell me what minute is the cadenza?

@ooolegoo857

@sunny daays 10:50~12:27

@ooolegoo857

@sunny daays l like the part after 11:38

@mhuten

3y↑1

greatest cadenza

@seanmcconnell58

1y↑1

Both the middle section of this 3rd movement and the 3rd movement of piano concerto 25 are transcedental.

@lawming9268

2y↑2

3:47

6:20

@samrose565

3y↑14

@marionajuncaxaus8260

hello! could you please help me analyise the 1st movement? I’m also new at this and I can’t identify the cadenza 😅

@joaobutmozartsfan9658

@sunny daays between 10:48 and 10:49 the cadenza starts

@loivo5707

@Tizohip

4y↑6

10:28 the best version in this kind of mozart cadencia

@volcanothunderpuppet

3y↑4

Okay Herr Mozart, you’re just showing off now.

@livb6945

If you've got it, flaunt it 😎

@danielbrissenden2555

Someone told me-- quite angrily-- that I was a show off at the end of a life drawing session in a university. I didn't know how to react! Why didn't he just ask for advice? But, ironically, I remember that as the finest complement I ever received. That poor guy probably went home and burned his crucifix, like Salieri.

@derby2510

3y↑51

Anyone calling this concerto simple pretty melodies doesn't get it. Especially in the highly chromatic middle movement. It only SOUNDS simple because of how effortless his technique was, and how he didn't feel the need to hammer you over the head with what he's doing like a certain composer that followed him. That's why these videos with the scores are so good. What other composer would put a duet between flute and bassoon in the middle of a piano concerto. What other composer could?

@amerrylittlemonarch

3y↑6

@ignacioclerici5341

2y↑6

@Ludwig van Beethoven arent you again the young Beethoven that likes maths and talks with Daniel Famini?

I thought you loved Mozart, you didnt do him justice in that long comment, like i could just say that Mozart's music is Divine and so beautiful that it transcends Beethovens innovations, and grandiur, and piano virtuosity.

But at the same time i could say i agree with you and i think Beethoven is more spiritual and touching than Mozart, altough less melodically inspired (lyrical melodies not thematic development), but they had different approaches and objectives, Beethoven didnt want to compose lirycal melodies like Mozart and Mozart didnt want to compose thematichally.

But what i really think is they are equally great composers. Both better than any other composer from any period except Bach.

@StanObirek

Good point. '... like a certain composer that followed him' - Beethoven?

@StanObirek

2y↑8

@Ludwig van Beethoven Nobody denies Beethoven's piano technique was more advanced than Mozart's, as the two were separated by years of musical development. Likewise technique of Chopin is more complex that this of Beethoven. However, music is not what one can see in the score, but what this score, when played, creates in one's mind. In this sense, Beethoven never surpassed Mozart.

@amerrylittlemonarch

2y↑1

20 More Replies...

@princianorvz

51w

Yunchan Lim played this concerto, in Cliburn!!!

@DanielKRui

2y↑2

I wonder why many pianists play the section at 29:08 differently (all the top results on Youtube, like Uchiha, Minaar, etc.). Did Mozart mark "cadenza", or is it just tradition?

@joaobutmozartsfan9658

1y↑1

It was extremely common in the classical era to improvise when the piano is playing a relatively simple melody, in order to make it sound richer, i think these pianist were trying to do the same thing, it may be some sort of a tradition in this specific section

@user-jl2bh1lw6r

2y↑3

A genius who only comes out once in a thousand years. Wolfgang Gottlief Mozart.😆

@danal81

One thousand? Lmao. What about Bach? Beethoven?

@Zimzamzoom95

2y↑1

@Daniel A ^ Guy finding out about hyperbole for the first time

@danal81

@Will Durrant the fact you interpreted it as “hyperbole” doesn’t mean the OP intended it that way.
But I guess it’s easy to be a sm4rta33 in anonymous comments.

@Zimzamzoom95

2y↑1

@Daniel A I'm the one being a smartass? You tried to correct a comment that could easily be interpreted as an intentional exaggeration

@Zimzamzoom95

2y↑1

@Daniel A Also you look corny af censoring smartass my boy 😭

4 More Replies...

@wolfie8748

51w

28:05 WOOOOOOOOOOOOOOOOOOOOOOW

@timehrler2686

From "Love and Death"

'Ah, there's something about Mozart'

Woody: 'I think you are responding to his music'

@lawming9268

2y↑1

2:17

3:45

@authenticmusic4815

4y↑14

The beginning is extremely similar to his 1st symphony

@authenticmusic4815

4y↑8

Ikr

@authenticmusic4815

4y↑12

Oh wait shit that was me lol

@cakeflip21

4y↑3

@Teddy 6451 bruh

@mhuten

4y↑3

@Teddy 6451 lol

@mumblingtruth4721

3y↑4

@Teddy 6451 I laughed so much

2 More Replies...

@nickn2794

The beginning sounds like his first symphony.

@hjo4104

36w

more like symphony no. 19

@drorgolan7121

1y↑1

35:21😍

@songur0614

3y↑2

This guy wrote so much quality music, we can say he carried the Classic Era to Romantic Era. Hahha writing an informal comment is actually quite funny.

@amedeodeamicis1957

4y↑6

Mozart all'ennesima potenza

@javier265

2y↑1

What do you think is the reason for the fact that no music as beautiful as this is ever composed again? I don't know if music's beauty can be objectively measured but it definitely feels that music has slowly being degenerating (at least its complexity).

@rafaeljames331

2y↑1

No look at middle/late Beatles some of that is very complex and theoretically advanced (while still retaining the beautiful simplicity that the very best music has, like Mozart as well)

@ignacioclerici5341

30w↑1

Society became more and more mundane, shallow, careless. Every year it seems to be getting worse.

@yoliv2469

4y↑10

Hummel's cadenza is way too off the concerto itself in terms of range and harmony. But very brilliant, I have to admit.

@marionajuncaxaus8260

what part is the cadenza? i can’t recognize it bc im new at this 😅

@Tizohip

4y↑7

11:28 bach

@dlelllfkdlelel5459

That was composed by the pianist

@paolots

3y↑3

Quienes dicen que Mozart no era un buen compositor porque solo
compuso dos conciertos para piano en modo menor, es porque nunca han compuesto en modo mayor... cuesta. En el modo menor tienes todos los recursos a la mano, y te sobran.

@ignacioclerici5341

No entendí a qué te referís con que te sobran elementos?

@matthewferguson7084

Sounds like Fur Elise but hard as the Appassionata

@shinejewel

3y↑6

23:20 amadeus

@loveclassicalmusicalot

I watched that movie and I highly recommend it. I was thinking: "What's the Mozart piano concerto that was featured in that movie other than number 20?" I then found it.

@rudiw220741

3y↑1

9:12–12:58.

@_Athanos

3y↑2

7:18

@paulwl3159

3y↑2

Have you noticed how there are several strange passages for the left hand only, (and which are not actually performed here). There are also places where you would expect to hear the piano, but there is silence instead. Perhaps the work was not completed?

@_Athanos

Maybe Mozart left room for interpretation

@Richard.Atkinson

3y↑4

No, these passages are just doubling the cellos/basses. They aren’t really the solo piano part.

@paulwl3159

3y↑2

@Richard Atkinson I just read a short review by Phillip Huscher of a performance by the Chicago SO where he gives an explanation, saying: There are passages for the piano in the E-flat major concerto he wrote that hectic Figaro winter that are not fully written out, because Mozart was then, more than ever, short of time. (Besides, he composed the concerto expressly for his own use.) Those fragmentary measures speak not of carelessness, but merely impatience; they also remind us that Mozart regularly improvised and ornamented certain phrases as he played.

@livb6945

3y↑2

From what I've learnt, the bass line was played in Mozart's time, but these days it isn't. They seem to be frequent in his piano concertos

@klop4228

As I understand it, it's essentially using the piano the exast same way that you'd have a harpsichord in the Baroque period, i.e. as basso continuo during the tuttis.

Basically, during non-solo bits, the piano plays the bassline, plus chords to fit the harmony. A lot of modern performers just leave it out because they don't feel it adds much, or even feel it takes away from the piece for the soloist to keep playing when they're not the focus, though I've seen performances where the soloist plays continuo during tuttis too.

2 More Replies...

@chopin65

Following along with the score is a bit confusing. The staves of the piano part are sometimes shared with the orchestra. It is not clearly marked.

@Samael_Azrael

Hey we have the same profile picture!!!!!! What are the chances?????

@glinteastwood

3y↑3

What seven absolute DOUGHNUTS downvoted this?! Hahaha. The balls....

@symphonicpoem11

28:53

@namedday5473

I think melody in first movement same to Symphony No. 39

@hjo4104

24w

symphony no 19 kv 132

@Avag4554

23:19

@fredericchopin7538

2y↑1

Delgithful!

@andreaemanuele7293

What happens at 3:44 - 3:46 ?

@dlelllfkdlelel5459

What

@andreaemanuele7293

@Dlelll Fkdlelel Either a mistake by YouTube when the video was processed, or a mistake by the English Chamber Orchestra recording engineer (hopefully not this!): in any case, bar 125 is slightly off-positioned, especially in its connection with bar 126

@dlelllfkdlelel5459

@Andrea Emanuele whats the matter that piano and orchestra play together in this scene?

@andreaemanuele7293

@Dlelll Fkdlelel Nono, half of the last semiquaver of bar 125 is clearly missing from the recording. Now that I'm listening to it again, I also think that beginning of bar 125 is also a tiny bit delayed, but I'm not 100% sure. It sounds as if a cut was made to the recording (very common: maybe that bar didn't go well in the first take, so they recorded it again, but of course they didn't want to record the whole movement again) but the bar was slightly misplaced by the sound engineer.

@andreaemanuele7293

@Dlelll Fkdlelel I really hope it's a mistake from YouTube processing, though, cause such mistakes shouldn't happen at this level!

2 More Replies...

@porkscratchings5428

24:45 onwards is pure sex to my ears!

@mhuten

3y↑1

1:55

@dlelllfkdlelel5459

Yeah😍

@paolo.s1756

1y↑1

why changing the partiture and play notes that Mozart not wrote? I never will understand why somes feeling the need to change the music of Master.....Perahia is a great performer, but there is a limit. It's about the respect for composer.

@joaobutmozartsfan9658

I agree with you, i often feel unconfortable when modern pianist change or improvise, as well in mozarts piano sonatas, but i have to say this was the most common thing in the xviii century