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Mozart: Piano Sonata No. 9 in D major, K.311 [Uchida]

I. Allegro con spirito (0:00) II. Andante con espressione (4:19) III. Rondo. Allegro (9:13) Piano: Mitsuko Uchida Mvt. 1: Allegro con spirito [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1). The wavy figure is M1, the four ascending quavers are M2. (0:17) Transition Section. RH expands the scales of P2. (Also, notice how 0:19 is M1 inverted!). (0:26) Secondary Theme (S1) in A major. The inversion of M2 appears a lot of times. (0:39) Counter-Theme 2 (S2). (0:45) Counter-Theme 3 (S3). (0:58) Cadential Theme. At 1:01, a galloping figure in descending sixths (M3) brings additional closure to the Exposition. DEVELOPMENT (2:10) Episode 1: M3 is developed extensively, modulating across minor tonalities. M3 wants to complete its cadence to A major, but gets deviated all the time. At 2:32, it finally resolves into the relative minor of D (Bm). Then, some hesitant chords lead us to (2:41) Episode 2: S3 in G major. (2:54) Episode 3: expansion of that pre-cadential measure at 0:58. We start modulating and getting lost (G, D, Em, D, G, E7)... (3:08) Episode 4: and suddenly the transitional theme based on the inversion of M1 comes back, leading us to a surprising INVERTED RECAPITULATION (3:14) The Secondary Theme appears in the tonic, then shifts to Dm for a moment (Mozart does the same in the Recap of K.309). (3:28) And then we realize how Mozart is an amazing craftsman: he transforms the secondary Counter-Themes (S2+S3) into a new Transitional Section, as if rearranging the whole Exposition. We hear S2 and S3 in the tonic, conducting us back to the (3:48) Primary Theme. (3:58) Now that the Inverted Recapitulation is complete, a new Bridge (resembling the scales of the initial Transition) emerges to prepare us for the Coda. (4:04) When we finally get back to a familiar pre-cadential theme, the expected dominant7 chord is deviated to the relative minor. We stand still for a moment, until M3 comes back and closes the movement. Mvt. 2: Andante con espressione *The structure of this movement is very ambiguous and difficult to categorize accurately, so I'll present some ideas. The first possibility is a "Sonatina-Form", lacking the Development Section (notice that the Secondary Theme appears in the dominant and returns in the tonic). The second idea is a modified Sonata-Rondo, with structure AABA'CAB'A''C'A (the tonic return of sections B and C also fits well with this idea). The third possibility, which is my favorite and the basis for the analysis below, is an Rounded-Binary form in AABA'B'A' structure. The reason why I like this analysis is because I recall other movements by Mozart shaped like that and I was very intrigued by the repeat sign at the beginning. SECTION A (4:20) Theme A, consisting of two parts: A1 is the initial 8 bars, then A2 is the melody over semi-quavers. The three descending octaves in m. 3 are M1. (5:19) Bridge based on M1. SECTION B (5:33) Theme B in the dominant. (5:54) False entry of Theme A in the dominant (wrong key). LH interrupts RH with another fragment of A1; both hands are trying to establish the return of Theme A, but they have to modulate first. (6:04) Another bridge based on M1. SECTION A' (6:32) Theme A in the tonic, with embellishments. (7:04) The bridge from the beginning returns, but now it prepares us for a tonic Theme B. SECTION B' (7:13) Theme B in G major. (7:35) Once again, a fragmentary False Entry of Theme A, followed by a Transition. SECTION A'' (8:13) Theme A, more ornamented. (8:44) Coda, based on an extension of A2. Mvt. 3: Allegro [Sonata-Rondo form] SECTION A (9:14) Theme A. The initial appoggiatura+note is M1 and the descending scale (m.5) is M2. At 9:31, M2 expands. (9:33) Transition Section. SECTION B (9:45) Theme B (B1) in the dominant, based on M1. (9:54) Counter-Theme 1 (B2) based on M2. (10:01) Counter-Theme 2 (B3), polyphonic. (10:20) Counter-Theme 3 (B4). (10:41) Counter-Theme 4 (B5). SECTION A (10:55) Theme A. (11:16) After we hear the tonic arpeggios unexpectedly ending in D7, a Modulatory Transition to the relative minor begins (G, Em, D, F#m, Bm). SECTION C (11:36) Theme C (C1) in B minor (deliciously beethovenian, if I dare say). (11:59) Counter-Theme 5 (C2) in G major. (12:17) Return of the Transition. As we approach D major and our ears crave for the Recapitulation, Mozart fools us — a dominant7 chord interrupts the flowing motion of the rondo, and we hear this beautiful written Cadenza. SECTION A (13:07) Theme A, second time an octave lower. SECTION B (13:26) Mozart transforms B1 in the new Modulatory Transition (same procedure as in mvt 1!). (13:44) B2 + B3 + B4 + B5 in the tonic. SECTION A (14:34) The final statement of Theme A. (14:44) Once more fooling us, the Transition starts to play. Suddenly, it gets interrupted by an agitated Coda that ends the movement abruptly (Notice how this Coda is a variation of that transitional motive: the four chords).