W. A. Mozart의 Piano Concerto in d. minor K. 466의 構造的 側面에서의 小考 = An Observation in the Structure Side of W.A. Mozart Piano Concerto in d.minor K. 466

다국어 초록 (Multilingual Abstract)

Mozart gifted with musical talented wrote many wonderful works in his short life. Especially his piano concertos are well-balanced perfect works which equally emphasize both orchestra and piano solo. They can be described as characteristic masterpieces ehhancing his ideal.
d minor concerto is his first minor concerto among his best piano concertos. Since its emphasize is put not on the technics of the player but on the humanism, this study deals with the structure and form of it.
The 1st movement can be devided into three parts: introduction, development, repetition. The strife begins with the sharp contrast between tutties and solos. It goes on to the end without any solution. The subjects are characteristic the passionate main subject, the free subjects of solo introduction, and a very refreshing one. The opening tutti is the most important part that expresses the whole character of the 1st movement.
The 2nd movement is a rondo of a mixed three-fold division. It used the ?? Major as the subdominant of relative major uncommonly. The first division is full of delight and vitality as the 1st subject 1yrical and pleasant calms the strife of the 1st movement. The 2nd division in g minor is very different from the 1st division. It has the subject in the form of the triplet passionately progressing. So here beings the strife again and this makes the 2nd movement characteristic. The 3rd division repeats briefly the 1st division in ?? Major.
The 3rd movement is one of the few minor rondos of Mozart and has a sonata rondo from a confound of rondo and sonata in other words, it is a sonata without development and a rondo with the 2nd couplet directly followed by the 3rd couplet without refrain. Its thematic unity consists of two main themas and two subsidiary themas, the main theme with furious passion is the best one of the Mozart's subjects of refrain and makes the refrain by farmore passionate than the 1st movement. The 2nd subsidiary theme intensifies the impetus and ends up with triumph when the themas convert into D Major at the end. this work decorates its end with trimph as the strife of the 1st movement gets through with the confusion of the 2nd movement and passes into D Major at the end of the 3rd movement.
In view of the relationship of the subjects, this work is not better than the other previous ones. But the free form, the characteristic subjects, and the complets presentation of the special d minor's meaning show that in depth and meaning this concerto is a step further and a most creative work of remarkable originality and sharply defined personality.

목차 (Table of Contents)

• Ⅰ. 序 論
• Ⅱ. 本 論
• 1. 第一樂章
• 2. 第二樂章
• 3. 第三樂章
• Ⅲ. 結 論
• 參 考 文 獻