Analysis: Concerto No. 21 In C Major For Piano And Piano

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Concerto No. 21 in C major for Piano and Orchestra, K.467, second movement is also known as “Elvira Madigan“; named from a Swedish film and was used at length on that sound track. The graceful, slow movement would sooth any beast with its rhythmic resonance and graceful rhythm. This classical piece still entices a longing to close the eyes and listen to the swaying beats as the mind wonders through the ebb and tide of this musical dynamic.
Movement no.2 starts with many instruments playing in unison as a background of cellos and bass drone a pattern. As the score progresses, the flute, oboes, bassoons and horns play their part conveying the song a consonance feel. The ensemble is not complete without the piano to play the
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The flow of the music is peaceful with a positive appeal, while played in minor; it has a melancholy sound to it, almost a yearning. The piece is mostly conjunct, but would not complete with the disjunct melody. During the piano solo, the pianist skips two octaves down to play part of the tune. There is constant alternating between the two motions throughout the piece.
Regular rhythm is the majority with occasional irregular rhythm being thrown in. For example at 19:07 minutes into the video, the feel of the rhythm changed from regular to irregular. This type of score is similar to a waltz using the triple meter, but was well played utilizing the duple similarly. The regular beat seemed to always have some sort of drone or an under beat throughout the piece, except the piano solo, however, the piano played the underlined beat on the bass keys.
The second movement has a satisfying feel to the harmony. It was written with mostly consonant harmony with dissonant meters thrown in. The consonant sounds were heard while the piece is play in major and the dissonant would be heard while played in minor during the composition. Like most good books or movies, both are required to bring any level of emotion to make one listen to the music

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