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Mozart: Piano Sonata No. 1 in C major, K.279 [Uchida]

I. Allegro (0:00) II. Andante (4:50) III. Allegro (10:34) Piano: Mitsuko Uchida Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1), stated twice. The first Motive (M1) consists of alternating semitones (C-B-C) in LH. (00:09) Counter-Theme 1 (P2), a cute melody jesting with lower leading-tones. (00:16) Counter-Theme 2 (P3), alternating tonic and subdominant arpeggios. (00:23) Return and expansion of M1 across three octaves. This motivic recurrence, followed by a Half-Cadence, indicates the end of the Primary Section. (00:31) M2 (appoggiatura and note) leading to a brief harmonic Transition: E7 (VI/V), D7 (V/V), G. (00:39) Secondary Theme (S1) in G major. (00:43) Counter-Theme 3 (S2), descending scales. (0:50) Variation of S1. Notice how M2 gradually takes over until it arpeggiates an Am chord (ii/V) that induces a cadence back to (1:02) S2, now arpeggiated. The left hand starts to assume the shape of P1, until this Motive invades both RH and LH of the second variation of S2 (G-F#-G). (1:10) Codetta. A G major scale leads to a full statement of P1 in the dominant and concludes the Exposition with four juxtaposed statements of M1. DEVELOPMENT (2:36) Episode 1: P1 through various keys: Gm, A7, Dm, G7, C, B♭. (2:49) Episode 2: Sequential Transition (maybe developing S2?). (2:55) Episode 3: Development of P2. (3:02) Episode 4: Sequential treatment of P1, leading to RECAPITULATION (3:14) P1. (3:23) Modified P2, concluding with a Half-Cadence in preparation for a Secondary Section in the tonic. At 3:35, M1 is expanded in the dominant. (3:40) Transition leading to the tonic: A (VI), G (V), C. (3:49) S1 + S2 in the tonic. (4:04) P3 appears way too late, interrupting the Secondary Section. This delayed appearence of P3 creates a comical effect, if you recognize when it should have been recapitulated. (4:13) A familiar Half-Cadence brings back the awaited variations of S1 and S2. (4:34) Coda. Mvt 2: Andante [Sonata-Form] EXPOSITION (4:50) Primary Theme (P1), three repeated dominant notes with expanding ornamentation. (4:58) Counter-Theme 1 (P2). (5:08) Counter-Theme 2 (P3), a very tender melody. (5:14) Brief Transition. (5:19) Secondary Theme (S1) in C major. Interestingly, this Theme also consists of repeated dominant (V/V) notes, but way more embellished (with many appoggiaturas and two parallel counter-melodies) and augmented (instead of three beats, three measures). (5:32) Counter-Theme 3 (S2), chromatic line. (5:44) Counter-Theme 4 (S3), fragmented melodies with some variations. (5:57) Cadential Theme, repeated chords interrupting false entries of S3. (6:04) Codetta. DEVELOPMENT (7:56) Episode 1: P1 in the dominant. It effortlessly slips into the minor secondary-dominant. (8:12) Episode 2: P2 in D minor. (8:24) Episode 3: back to G minor, now developing fragments of P3. (8:37) Cadence leading to RECAPITULATION (8:40) P1. (8:46) P2. The second time, it brings back that unstable diminished feeling from the Development. (8:56) In order to transition to S1 in the tonic, S4 is antecipated. (9:02) S1 + S2 + S3 in the tonic. (9:47) Again, S4 followed by a Cadence. (10:03) P3 appears too late, forcing the Coda to wait (haven't we experienced this already?!) (10:12) A brief shadow of S3 before the Coda. Mvt 3: Allegro [Sonata-Form] EXPOSITION (10:34) Primary Theme (P1). Motive 1 (M1) consists of a perfect fourth ascending leap. (10:44) Transition Section. (10:54) Secondary Theme (S1), descending by thirds. (11:03) Counter-Theme 1 (S2). (11:08) Counter-Theme 2 (S3). (11:15) Cadential Theme and Codetta. DEVELOPMENT (12:14) Episode 1: S1 in RH (V), S1 in LH (vi), modulation to Em. (12:32) Episode 2: P1 and M1 through multiple keys, alternating hands (Em, Dm, C). RECAPITULATION (12:41) P1. The second statement is now in LH, recalling the Development. (12:50) Transition. (13:01) S1 + S2 + S3 in the tonic. (13:25) The RH decides to re-estate S1 but it ends up straying itself. The LH, annoyed by the incompetence of its fellow hand, humorously takes up S1 in heavy octaves. (13:35) Finally, the Cadential Theme and Coda.