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Mozart: Piano Sonata No. 3 in B♭ major, K.281 [Uchida]

I. Allegro (0:00) II. Andante amoroso (4:26) III. Rondo. Allegro (9:20) Piano: Mitsuko Uchida Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1): a trill (M1) followed by triplets (M2). Second time an octave below. (0:14) Counter-Theme 1 (P2): a chromatic line followed by an scalar answer, stated twice. (Check the beginning of 2nd Sonata to see the exactly same chromatic motion from tonic to subdominant). (0:20) Transition Section: expanding and developing P2, descending scales modulate to V. (0:28) Secondary Theme (S1): repeated notes and answer. (0:37) Counter-Theme 2 (S2): the repeated notes divert to a succession of ascending chromatic statements and descending answers, leading to (0:45) Counter-Theme 3 (S3), a dominant preparation for the Codetta. (0:57) Codetta, recalling the Transition. DEVELOPMENT (2:21) Episode 1: A distant recollection of S3 in F major that loses momentum and dies. (2:28) Episode 2: Single statement of P1 in the dominant. (2:34) Episode 3: The LH decides to start developing M2, giving it a minor flavour (Gm, Cm, Dm). A dim7 ocurrence of the P1 consequent (0:05) calls this section to a halt (in a kind of Mannheim-Grand-Pause style), deflagrating (2:46) Episode 4: expansion and development of the P1 consequent in G minor (3:01) Episode 5: postponement of Recap, alternating I7 and IV and imitating S3 (0:50). At 3:07, the unnecessary prolongation is interrupted by a strong dominant chord, conducting us to the RECAPITULATION (3:13) P1 + P2. (3:33) Transition Section. (3:41) S1 + S2 + S3 in the tonic. (4:10) Coda. Mvt 2: Andante amoroso [Sonata-Form] EXPOSITION (4:26) Primary Theme (P1): a descending E♭ major scale in thirds. (4:40) Counter-Theme 1 (P2): RH answering LH chords. (4:48) Counter-Theme 2 (P3): triplets (M1) and finalization with staccato chords. (4:56) Transition Section: a nice melody with some ornamentation. A fragment of P1 returns to consummate the modulation to B♭ major (5:15). (5:17) Secondary Theme (S1): triplets doubled by the third. (5:24) Counter-Theme 3 (S2): the triplets become an accompaniment to repetitive four-bar melodies ending in trills. (5:45) Codetta: P3 returns. DEVELOPMENT (7:22) Episode 1: the triplets alternate hands, as if developing S1 and S2 together. (7:33) Episode 2: P2 interrupts, bringing a brief B♭ minor flavour, but sliding back to major. The two P3 chords in V7 prepare us for the RECAPITULATION (7:47) P1. The triplets from the Secondary section are now incorporated into the Primary Theme. (8:00) P2 + P3. (8:16) Transition Section in A♭ (IV). (8:41) S1 + S2 in the tonic (notice the subtle incorporation of S1 at 8:56). (9:10) Coda (P3). Mvt 3: Allegro [Sonata-Rondo form] SECTION A (9:20) Theme A (A1), stated twice with a slight variation. (9:31) Counter-Theme A (A2). The abundant triplets (M1) lead twice to a funny top-heavy E♭ major chord. Theme A ends with two harsh V-I notes (M2). (9:45) Transition. M1 and M2 are combined and developed. SECTION B (9:59) Theme B (B1) in the dominant, stated twice. (10:05) Counter-Theme B (B2). (10:14) Codetta, expanding the trill that closed B2. SECTION A (10:28) A1. SECTION C (10:40) Relative minor section in Small Ternary form. (11:29) Transition. SECTION A (11:36) A1 + A2. (12:00) A deviation brings totally new transitional material that prepares us for the tonic. This indicates that this mvt is actually in Sonata-Rondo form. (12:20) Just like the first Transition, M1 and M2 are combined and developed further. (12:37) Funnily enough, a single-handed recurrence of A1 topped by a continuous trill reminds us of what we heard before this exceptionally long transition section. Hands swap afterwards. SECTION B (12:20) Finally, B1 + B2 in the tonic. (13:07) The Codetta slides into a brief chromatic Transition. SECTION A (13:15) A1 + A2. Without a proper Coda, it's the poignant M2 that closes the whole Sonata.