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The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such ...
A solo concerto is a musical form which features a single solo instrument with the melody line, accompanied by an orchestra. Traditionally, there are three movements in a solo concerto, consisting of a fast section, a slow and lyrical section, and then another fast section.
Generally, the second movement of a piece will be written as a slow movement, although composers occasionally write other movements as a slow movement as well. The tempo of a slow movement can vary from largo to andante , though occasionally allegretto slow movements can be found, especially in works by Beethoven.
The slow movement is a theme and variations. Martha Kingdon Ward has commented that the slow movement of this concerto contains one of the "most tranquil" of Mozart's flute solos, specifically in the G-major variation. [3] M. S. Cole has noted Mozart's use of meter changes in the finale, starting at measure 171, from 6 8 to 2
The slow second movement is often admired for its melody, and is generally considered to be the heart of the concerto. The themes, presented by the violin, are underscored by a constantly moving orchestra part, keeping the movement alive and helping it flow from one part to the next. [8] Finale: Allegro energico (in G major)
A classical piano concerto is often in three movements. A moderately quick opening movement in sonata allegro form often including a virtuoso cadenza (which may be improvised by the soloist). A slow movement that is freer and more expressive and lyrical. Usually in Ternary form. A faster rondo.
The violin concerto stands out from previous concertos with its connected movements. [10] There is no break between the first and second movements, with a bassoon note held between the two. [22] The bridging passage between the last two movements begins almost immediately after the slow movement.
The slow second movement is a theme and variations in C minor that recalls similar slow C minor movements in other Mozart E ♭ major concertos such as K. 271 and K. 364. Mozart's father, in a famous letter to Maria ("Nannerl"), expressed surprise that a call was made for the slow movement ("a rather unusual occurrence!") to be repeated. [6]