Piano Sonata No. 16 (Mozart)

The Sonata No. 16 in C major ( Sonata facile, K. 545 ) was composed in 1788 by Wolfgang Amadeus Mozart in Vienna. It is an example of the use of the sonata form in the first movement of a piano sonata. This sonata was first referred to as " A small piano sonata for beginners ," in the first edition in 1805 then as Sonata facile.

Construction

1st movement Allegro

The exposure

The exposure of the Sonata facile begins with the main theme in the tonic ( C major ). The theme is played exclusively by the right hand while the left hand acts with their broken triads as chordal support. Here, Mozart moved exclusively in the functions of tonic, subdominant and dominant, which it uses symmetric ( T, D, T, S, T, D, T), which is a quiet start with no big surprises. The subject of the main clause is difficult to classify in a classic topics form. Most likely it corresponds to the set form, if you as a phrase and T 3-4 as, in this case ranged clock 1-2, considered Phrase Repeat. The development, which typically follows the repetition of phrases in sentence -like themes, falls in this approach already with the beginning of the transition of the main theorem. However, since many compromises have to be made ​​if you want to assign the main theme of a classic topics form, would also be the statement that Mozart did not use typical topics form at the beginning of the piece, not unfounded.

As a bridge to the theme uses Mozart sequenced runs ( each an octave, from bottom to top ), beginning in the function of the subdominant on the a 'and migrate gradually down. On the d ' arrived, the c present in the run is what produces a cis leittontechnischen a character and returns the first evidence for a modulation to the dominant over the Doppeldominate ( D major ). Since Mozart now therefore concentrated towards the end of the first transition in the left hand on the dominant function and on the G, while the right hand is increasingly limited to the tones of the dominant triad, the dominant is gradually to the new tonic. Also the use of the previously mentioned double dominant in T 13 (c ' and d " as the root and the seventh of the double dominant ) reinforces this impression. Reconciliation to the secondary theme is thus, by being passed over D major to G major and G- major for the page set and the rest of the exposure will be established as a new tonic.

Now, the page set, which is constructed schematically similar to the main clause begins. Both topics beginning with two-bar phrases. In contrast to the first theme, however, the second theme are relatively safe designated as a set. The first phrase is repeated, and follow it, as part of development, sequenced triads that are similar to the main theme, part of the transition, in this case part of the transition to the final group. You start on the d, as the two subject entries previously, bringing the thesis can be justified that the reconciliation acts as a development of the phrases. The final group of the exposition begins in measure 22, the triads of reconciliation to be replaced by a bouncing motif with short sixteenth proposals in the Tp As in the main and side theme the melody is in the right hand. However, the accompanying pattern of the left hand is this time from insistent repeated notes. The exposition ends with two triads in G major, shifted one octave. G major is then reiterated by three chord strumming.

The implementation

The implementation takes equal to the initial triad arpeggios again, but this time in G Minor. These are again heard in measure 33 and 34, as a sequence of Pioneered and in D Minor. Thus Mozart has made the triads used at the end of exposure to an important element of its implementation. In the implementation of themes and motifs are actually frequently used and edited from the exposure. Most, however, material is from the main theme, and less frequently from the second subject are used. Mozart, however, raises the first inconspicuous closing the final group show by repetition / sequencing. Plays around is this " topic " of complementary courses. On closer inspection, another similarity between the implementation and the exposure falls on. In both parts to the same elements found in the Bass: A quarter note, following which two quarter breaks and again a quarter note. Compare this with T 5-8 T 29-30. In bars 32 and 35 can be found, as an example of the characteristic for bushings motivic work, a sequence of logrolling.

The recapitulation

The runs that lead from clock 37 from each one octave down, now lead to the recapitulation over and modulate again, this time to F major, bringing the recapitulation begins in measure 42. Normally one would expect the tonic at this point. In Mozart's Sonata facile, however, the recapitulation begins in the subdominant, which are the subject of a new harmonic coloration. Except for the key to the first theme used but are identical in the exposition and the recapitulation. The first difference is to be found in the reconciliation, which is much longer than the exposure. There are, according to the already known model, sixteenth runs, which gradually and cyclically operate over four clock cycles down, but then go into the left hand. This is perhaps the most diverse place for the left hand, which otherwise has no dominant role. Overall, the runs are pulled across six bars, four of them in the left hand.

With a total of ten measures the transition from primary to Page set in the recapitulation by four clocks is longer than that in the exposure. While the left hand takes over the runs, plays the right hand of the already mentioned accompaniment consisting of a quarter, followed by a half break and yet a quarter. The reconciliation is already so long, because to be modulated by the subdominant to the tonic. The next page is set in the tonic. Again, watch an exciting modulation. The first five bars are still resting on the key of the main theorem. This is visible to the recurring h, which is lowered into a b. For the first time in 51 clock this is resolved back to a h, the key is not yet clearly modulated, however, you find yourself once again unsigned, and in bar 53, the left hand plays a C major run. These four bars in the left hand set, so to speak, a reconciliation in the reconciliation dar. Also in bass per clock run by one step down sequenced according to the above-mentioned C-major run, the transition is then just continue as in the exposition. The occasionally emerging sounds cis and fis show that in this section takes place, a modulation. The law of recapitulation ends on the dominant of G major.

Within a clock ( T58 ) Mozart gets back to the tonic C major. The tones f and g play a dominant role, the seventh and the root of the dominant to C major. In the exposition there is a very similar process, here, however, as described above for T 13, with the functions of double dominant and dominant. The page is set in the tonic and otherwise in compliance with the exposure. Unlike the reprise of the main theme so you will find no surprising deviations from the typical harmonic sequence of a sonata movement. The transition to the final section, the recapitulation is not longer than their parallel passage. Following the same scheme, triads complement in both hands, which lead to the final group, which also closely follows the approach outlined in the exposure material.

However, Mozart takes over this part not as complete as the first and second. Instead of having to write after the final group a further transition into the tonic, he summarizes them in a played by both hands and run around on the also from the exposure to be recognized -bar trill on the dominant to the tonic back. This one last time played the theme used already in the exposition and development, this time in the tonic, in which the play ends. The implementation and recapitulation are repeated a statement that one less often found in sonatas.

The Coda

A coda, a separate final part of the sonata, one finds, however, in many sonatas, but such a Mozart did not write. As already mentioned, the coda of a sonata is a separate part that can be seen by at least a few new elements as such, and not only consists of repetitions of the other parts. However, this deviation from the otherwise commonly encountered form of sequence is not particularly striking, as the final part of the exposition / recapitulation, with its three C- major chords has a very exhaustive.

2nd movement Andante

This slow movement is constructed in a very interesting form of a rondo. First, in the first eight bars, the A theme, which, as the phrase is in G major, presented. It mainly consists of two motifs, which focus on the right hand. The first theme consists of a long held note, which is then plays around below. The left hand goes through in a Alberti bass. The second motive is a descending broken chord. From nine to sixteen clock sounds the topic in a slightly different form again (A ') This whole section (bars 1-16) is repeated. In bar 17 is followed by the B section, which is in the dominant of D major. At it again follows in measure 25, the A ' part, which is exactly like A'- part of clock 9-16. Also, the combination of B and A ' part is repeated. The period beginning in measure 33, C- part is in G minor. Here are the motifs are partially transposed and implemented to B major and F major. B flat major in this case is the relative major key of G minor and F major, the dominant in B flat major. About a chromatic embellishment the subject is out in 48 clock back to G major. The A- part closes clock at 49 to 56. Up to 64 clock of the A ' part is then connected again before from bar 65 to the end ( cycle 74) is followed by a coda. The set ends here with the tonic.

3rd movement Rondo

This Rondo has the typical rondo form. The A- part of one to eight clock consisting of two motifs. The first dance motif consists of thirds. Introduced it is with a two -eighth prelude that leads to the root c. The left hand takes on this subject and responds with a sequencing. The second motive is more playful and is the right hand of two to four clock by running semiquavers. The left hand shows up as contrast, caused by the dotted quarter.

Rating

The composer omitted here unusual keys or dissonant friction, giving the plant a conciliatory statements are. Mozart 's Sonata facile with a great work succeeded, which makes it quite easy for the listener, the player, unlike it the title suggests, rather heavy, and the one, on second glance, multi-layered structure shows. Also due to the fact that this sonata was only three years before his death, it is not surprising that Mozart had already developed his personal style to perfection load and usage of it in full measure.