The Mozart Sonata in F-Major was written
in 1783 in Vienna and is believed to be written during the same time as his
famous K. 331, the Alla Turca, which
was played on this series earlier this month.
In the work on today's program, Mozart finds a balance
between lyricism and virtuosity in the first movement, using major and minor
key relationships as a means of contrast. The second movement is in two parts.
The second part is an almost-identical repetition of the first, although early
editions show much elaboration and ornamentation. Like the first movement, the
third movement is in sonata form. The playful nature of the two main themes is
countered by the weight of the sonata form and a much longer development than
in the first movement. Evan Mack _________________________________________________
Piano Sonata No.12 in F major K. 332 W.A. Mozart
The lesser of its two companions, the Sonatas in C and A
major (K. 330 and 331), the Piano Sonata in F major is nevertheless a superb
piece in its own right. It was originally thought that all three sonatas were
composed in the late 1770s, but now it is generally believed that they date
from 1783. They were published the following year by Artaria.
An interesting feature of the three movements of the F major
Sonata is Mozart's ability to create unity across all three movements by the
use of parallel minor keys. The outer movements, both regularly constructed
sonata forms, follow a nearly similar plan. After the principle theme, the
dominant key (as is expected to follow) is found by way of the key of D minor,
the relative minor of F. However, the second theme, instead of beginning in the
key of C major as it should, begins in its parallel minor. In the first
movement, the minor key portion of the second theme is more or less prefatory.
Following the initial statement of the second theme, the key of C minor then
returns in a sequential pattern bridging its two sections. In the finale,
however, the C minor section is given much more thematic prominence.
Furthermore, once the key of C major is established, the major key is
significantly colored with its minor counterpart.
The middle Adagio, also more or less, follows this
plan. Written in a sonatina form, the first phrase of the principal theme in
B-flat major is immediately repeated in the tonic minor. Following the close of
the exposition, the recapitulation begins immediately. In the earlier editions
of the sonata, the recapitulation is brilliantly ornamented. These
embellishments were added by the publisher under Mozart's supervision,
providing interesting insight into how the composer himself expected his
sonatas to be performed.Joseph
DuBose
Classical Music | Piano Music
Wolfgang Amadeus Mozart
Piano Sonata No.12 in F major K. 332 Play
Recorded on 07/30/2010, uploaded on 11/26/2010
Musician's or Publisher's Notes
I. Allegro; II. Adagio; III.Allegro assai
The Mozart Sonata in F-Major was written in 1783 in Vienna and is believed to be written during the same time as his famous K. 331, the Alla Turca, which was played on this series earlier this month.
In the work on today's program, Mozart finds a balance between lyricism and virtuosity in the first movement, using major and minor key relationships as a means of contrast. The second movement is in two parts. The second part is an almost-identical repetition of the first, although early editions show much elaboration and ornamentation. Like the first movement, the third movement is in sonata form. The playful nature of the two main themes is countered by the weight of the sonata form and a much longer development than in the first movement. Evan Mack_________________________________________________
Piano Sonata No.12 in F major K. 332 W.A. Mozart
The lesser of its two companions, the Sonatas in C and A major (K. 330 and 331), the Piano Sonata in F major is nevertheless a superb piece in its own right. It was originally thought that all three sonatas were composed in the late 1770s, but now it is generally believed that they date from 1783. They were published the following year by Artaria.
An interesting feature of the three movements of the F major Sonata is Mozart's ability to create unity across all three movements by the use of parallel minor keys. The outer movements, both regularly constructed sonata forms, follow a nearly similar plan. After the principle theme, the dominant key (as is expected to follow) is found by way of the key of D minor, the relative minor of F. However, the second theme, instead of beginning in the key of C major as it should, begins in its parallel minor. In the first movement, the minor key portion of the second theme is more or less prefatory. Following the initial statement of the second theme, the key of C minor then returns in a sequential pattern bridging its two sections. In the finale, however, the C minor section is given much more thematic prominence. Furthermore, once the key of C major is established, the major key is significantly colored with its minor counterpart.
The middle Adagio, also more or less, follows this plan. Written in a sonatina form, the first phrase of the principal theme in B-flat major is immediately repeated in the tonic minor. Following the close of the exposition, the recapitulation begins immediately. In the earlier editions of the sonata, the recapitulation is brilliantly ornamented. These embellishments were added by the publisher under Mozart's supervision, providing interesting insight into how the composer himself expected his sonatas to be performed. Joseph DuBose
More music by Wolfgang Amadeus Mozart
Soave sia il vento, from Così fan tutte
Rondo in D Major, K. 485
Hostias from Requiem K.626
Concerto No.21 Do major 2nd moviment
Sonata in D Major
Benedictus from Requiem K. 626
12 Variations in C Major on “Ah, vous dirai-je Maman” K. 265
Piano Concerto 12 KV 414 (1ºmov)
Piano Sonata No. 8 in a minor, K 310
Dies Irae from Requiem K. 626
Performances by same musician(s)
Dumka, Op. 59
Danzas Argentinas, Op. 2
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