Piano Concerto No 21 In C Major K467 Andante (1785) – Wolfgang Amadeus Mozart

First page of the autograph manuscript

It’s staggering what Mozart wrote around this time period, like the Marriage of FigaroDon Giovanni and The Abduction from the Seraglio amongst many other great works written about here. Today’s featured piece – Piano Concerto No. 21 was completed just 4 weeks after he completed Piano Concerto No 20 in D Minor. My Grandmother often played the No 20, and I dedicated that post in memory of her. Today’s No 21 is one of Mozart’s most familiar pieces of music although it didn’t feature in the Amadeus soundtrack.

These piano concertos are not just frivolous showpieces; they consistently struck rich melodic veins and formed a classical concerto gospel, which inspired the young Beethoven a great deal.
Orrin Howard wrote:

A sad historical footnote reveals that, while his concerto inspiration hardly ever failed him, his public did. Proof of this deplorable fact is seen in the correlation between his Viennese popularity and each year’s need for new concertos: three in 1782 and 1783, six in 1784, three in 1785 (the year of K. 467), a like number in 1786, and one each in 1788 and 1791.

Thank heaven for the successful years; without them there would unquestionably be fewer Mozart piano concertos. One is given to wondering, however, whether the flighty aristocrats for whom the works were written perceived even faintly the uniqueness of Mozart’s achievement during the time they were making him the fashion of the moment.

More information regarding the structure and specifics of the music can be found in the two references below:

1. Piano Concerto No. 21 (Mozart) – Wikipedia
2. Piano Concerto No. 21, K. 467 – theford

“The more I live, the more I learn. The more I learn, the more I realize, the less I know.”- Michel Legrand

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One comment on “Piano Concerto No 21 In C Major K467 Andante (1785) – Wolfgang Amadeus Mozart
  1. A beautiful piece I didn’t know by name, but recognized immediately. Mozart was truly a musical genius, and I’m certain many of the Vienna elite of the day neither understood nor appreciated that genius.

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