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The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost. The famous Andante , in the subdominant key of F major, is in three parts. The opening section is for orchestra only and features muted strings.

The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys.

Piano Concerto No. 20 in D Minor, K.

When familiar material returns, the music is now in the dominant keys of C minor and C major. Then it modulates to G minor , then B-flat major , then F minor, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. Live from Lugano The Complete Philips Recordings. The Complete Recordings on Deutsche Grammophon. The Collector's Edition, Vol. Arturo Benedetti Michelangeli Plays Mozart.

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    Piano Concerto No. 20 in D minor, K. 466

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