Whereas Mozart’s concertos begin with a conversation like communication between the group and the soloist, K491 does not include any of this direct exchanges in the original theme. The initial four notes of the classical outline are on no occasion played by the musician. Elimination of this conversation between group and vocalist at the start generates a more aggressive, significant sound than the distribution of themes at the start of prior piano
Whereas Mozart’s concertos begin with a conversation like communication between the group and the soloist, K491 does not include any of this direct exchanges in the original theme. The initial four notes of the classical outline are on no occasion played by the musician. Elimination of this conversation between group and vocalist at the start generates a more aggressive, significant sound than the distribution of themes at the start of prior piano