original piano transcription of Wolfgang Amadeus Mozart’s Rondo for Violin and Orchestra in B flat major KV 269
composition date: 1775-7?
transcription date: 2012 (May 31 – June 09)
complete piano transcription (piano solo arrangement) of the single movement
YouTube channel (embedded links below)
Discovered while listening to the complete Violin Concertos inside Brilliant Classics’ Complete Mozart Edition. Actually I wanted to listen to concerto KV 211, but the track listing had an error and didn’t list at all this piece! So when I pressed “Play” on the track listed as the first movement of KV 211, it was this Rondo that played. I soon realized something was off, the form wasn’t that of an opening allegro, it sounded like a finale or a Rondo, I checked back the listing, counted the tracks, tl;dr it turned out the listing was wrong. The actual position in the CD was in a way correct because this Rondo is an alternate finale for concerto KV 207, that preceded KV 211 in the CD. Error in the track listing or not, I had soon taken a liking to this piece, so the next step was getting a score and transcribe it.
I faced two main challenges when transcribing this:
- find a way to render the difference between “solo” and “tutti” passages, I mean when the ritornello is played first by solo then by tutti. This was a first, since in the Vivaldi’s concertos I transcribed so far “solo” and “tutti” always had different music to play so this wasn’t an issue.
- compose two “Eingang” and a “Cadenz”. Those you hear are my original versions, Mozart didn’t write out those. For the Cadenz I rolled up my composer’s sleeves and went with the tried-and-true technique of writing a “medley”/”potpourri” of the already heard themes, rearranging their order of appearance, mode and tonality. Finally I put in an ascending sequence in F7 based on the ritornello’s main theme, to build up enough tension both harmonically and counterpoint-ly for its last appearance in the finale. Also note before the cadenz, where the theme is played one and then two octaves higher: that’s a liberty on my part, in the original the ritornello is always played at the same pitch, but it felt all too natural, I just had to do that to satisfactorily prepare for the cadenz.