There are two kinds of self-referential aspects in Mozart's piano concertos: reminiscences of or allusions to specific works, and generic references to characteristic styles. It is easy to assume that Mozart frequently borrowed specifically from his opere buffe in his piano concertos, based on fortuitous similarities. However, the contribution of buffa in Mozart's piano concerto writing is mainly in its procedure, the most prominent effect being the achievement of closure. For example, the buffa gesture of repetitive cadences serves as a function of syntax when transposed to classical concerto style, reaffirming the tonic for a convincing closure and serving as a climax of rhythmic motive developing throughout the movement. Another "buffa echo" is the coda itself. The introduction of new materials, a quickened pulse and layering voices parallels the buffa finale. It is the interplay of solo and orchestra in the concerto that allows the dramatic operatic device to be incorporated.

Works: Mozart: Piano Concerto No. 14 in E-flat Major, K. 449 (76-85), Piano Concerto No. 15 in B-flat Major, K. 450 (86, 88), Piano Concerto No. 19 in F Major, K. 459 (94-97), Piano Concerto No. 17 in G Major, K. 453 (98, 100), Piano Concerto No. 20 in D Major, K. 466 (99, 101).

Sources: Mozart: Le nozze di Figaro, "Terzetto" (II, 13) (76), "Susanna or via sortite" (78, 80-81), and "Aprite un po' quegli occhi" (86-89), Don Giovanni, "Ho, Capito" (89-93).

Index Classifications: 1700s

Contributed by: Tong Cheng Blackburn