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Piano Concerto No. 24 in C minor K 491: 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, immolat…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
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…
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
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 Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…

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Comments from YouTube:

Detective Home

The 1st movement is completely badass

Mihawk Drakule

24:33
Thank me later

David Bjornstad

The Allegretto is a master class in the theme-and-variations format.

Daniel Fahimi

@Timothy Thorne Mozart attemped nothing! Beethoven attempted to do something like Mozart and failed!

Paweł Małecki

@Maestro_T I'm learning the first movement of Piano Sonata in F major, K. 322 and I am astonished by the number of modulations in the exposition, certainly above the Classical era average. Mozart goes F-F7-Bb-? (a clash of F, G and Bb) right in the first four bars, gives a short passage in F major followed by a brutal change into D minor, going to C minor through two dim7 chords and reaching C major through shared dominant as if nothing happened. He continues in C major, it's a sonata, but with another stunning episode in C minor in the middle which reaches back to C major through D minor in the most elegant manner one could imagine. Compared to Haydn's earlier sonatas that's like a revolution. The development is in fact not needed much given the amazing minor episodes in the exposition, what Mozart knew well since the development is based on one of them (with a twisted run from the key of C through Cm to Gm ended on a Bb7 chord, used in Fm context to deliver a shared dominant ending of the development).

Sonata in A minor has some bold harmonic turns as well (Am to Gm through Neapolitan is ingenious), it's next on my to-learn list.

Maestro_T

​@Mylo Cz I hadn't heard that before but it's an interesting argument. All I know is that Mozart's expositions are generally much more lavish than any of his contemporaries. In the piano concertos in particular, he would have the two main themes but a bunch of subsidiary themes as well. So, he wouldn't just have theme A and theme B but rather thematic GROUP A and thematic group B (I think B was generally the more elaborate one). This was one of the arguments against his music at the time, that just as soon as you heard one theme, another came along. Without multiple hearings (which was almost unheard of), it was too complicated to their ears. Mozart definitely had a more "perfect" sense of symmetry, whereas Beethoven, after his initial period, began elongating sections that previously were much smaller--most famously concluding sections, but also the developments and introductions when he used one.

Mylo Cz

@Maestro_T Well said. Regarding the Mozart's developments. I one read that he "lived more in the exposition". Like he didn't need elaborated developments. I don't know if it is true and the real reason, but in fact i enjoy his expositions and reprises more than developments usually. Still he must have had a different approach to symmetry than Beethoven for sure.

Derby25

@Timothy Thorne No, Beethoven's Op. 37 was Beethoven's failed attempt to out-Mozart Mozart.

3 More Replies...

Brian Bernstein

10:50 Zelda

Nicolás Muñoz

I thought the same thing

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