The Piano Concerto No. 19 in F major, K. 459 by Wolfgang Amadeus Mozart was written at the end of 1784: Mozart's own catalogue of works records that it was completed on 11 December (works surrounding it in the Köchel catalogue are K. 458, the "Hunt" quartet and K. 464, the fifth of the Haydn set). It is occasionally known as the "second coronation concerto" on account of Mozart playing it on the occasion of the coronation of Leopold II in Frankfurt am Main in October 1790. The autograph is held by the Berlin State Library. The first edition was produced by Johann André of Offenbach in 1794, and Breitkopf & Härtel produced an edition in 1800. Like most of Mozart's concertos it is in three movements: Allegro Allegretto in C major Allegro assai
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 (Hutchings incorrectly states 72), wherein six orchestral themes are exposed (A–F in Hutchings' notation; see main article on Mozart piano concertos for a discussion of this notation), 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 (themes x and y), 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 (22 bars) that introduces another theme, G: the scheme is AGAG. In the ensuing middle section (35 bars) 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 (36 bars): AGA Cadenza (Mozart's own exists) 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 (for example, he recognises seven themes in the prelude: the extra one is identified as the "subsidiary theme" below).
Prelude (orchestra) Bars: 1–16 A (2 x 8 bars, first p then f) 16–24 B 24–36 C plus short passage (32–36) connecting to D (this reoccurs constantly with D and thus could be considered part of it) 37–54 D (37–42), plus subsidiary theme linking to E 54–62 E – first closing theme 62–71 F – second closing theme
Exposition
72–79 A (piano) 79–87 A (piano plus orchestra) 87–95 B (in orchestra, piano accompanies), modulates to C major at end 95–99 x (piano) 100–105 x (piano plus orchestra) then short passage connecting to A 106–111 A (orchestra), still in C 111–130 A (piano plus orchestra), in d minor then modulates through suspensions through various keys 130–138 y (orchestra) in C major 138–148 y (piano, but with strings at 142–44) 149–164 A (fragments of the rhythm in orchestra, piano accompanies), modulates through various keys 164–167 linking passage similar to 32–36 (in orchestra, piano accompanies), in C major 168–171 D (orchestra, piano accompanies), in F major again 171–177 linking passage similar to 32–36 (in orchestra, piano accompanies) 178–180 D (piano, orchestra accompanies) 181–188 Free passage, based on the triplets of D (piano with orchestral accompaniment), finishing on the shake at 178 on D, signifying the end of the exposition.
First ritornello (orchestra) 189–194 A, in C major 194–201 G 202–206 A (repeated fragments) 207–210 G
Middle section
211–212 H (piano), in a minor
213–214 A (orchestra, piano accompanies) 215–216 H (piano), in a minor 217–235 A (orchestra and piano closely tied, switching theme back and forward) 235–240 H (a free version, piano) 241–246 A (orchestra), modulating to return to F major for the recapitulation
