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Mozart, Wolfgang Amadeus : Sonate für Klavier Nr.2  Mov.1 Allegro assai

Work Overview

Music ID : 30492
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:6 min 30 sec
Copyright:Public Domain

Commentary (2)

Author : Kumamoto, Ryohei

Last Updated: February 28, 2025
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Sonata Form

The structure is as follows:

  • Exposition [Presentation of the First Theme (measures 1-12) → Transition (measures 13-26) → Presentation of the Second Theme (measures 27-34) → Transition (measures 35-42) → Closing Section (measures 43-53) → Coda (measures 54-56)]
  • Development [Development Section of the Exposition's Transition Motive (measures 57-66) → Development Section of the Second Theme (measures 67-77) → Modulatory Passage (measures 78-82)]
  • Recapitulation [Recapitulation of the First Theme (measures 83-94) → Transition (measures 95-108) → Second Theme (measures 109-122) → Transition (measures 123-130) → Closing Section (measures 131-141) → Coda (measures 142-144)]

The main key is F major. The first theme is composed of three motives. The first, found in measures 1-2, expresses the sound of the tonic chord (I) with three quarter notes and a dotted quarter note. This motive of three quarter notes is later shared with the second theme. Next, in measures 3-6, the left-hand accompaniment features eighth-note octaves and chords, while the upper voice presents a smooth melodic line centered on descending stepwise motion. Finally, in measures 7-12, a motive suddenly leaps upward, displaying a lively character with sixteenth notes. This last motive is repeated in three-measure units.

Observing the overall movement of the first theme, notes of progressively shorter durations become dominant: quarter notes → eighth notes → sixteenth notes. Concurrently, the music exhibits a more intricate and lively character.

In the transition section, the upper voice in the right hand develops through arpeggiated lines of eighth-note triplets. Meanwhile, the left hand plays the root of the chord tones in octaves. These root octaves provide harmonic stability and have the effect of tightening and consolidating the somewhat expansive arpeggiated lines of eighth-note triplets in the upper voice. From measure 18, a chromatically descending sequence leads to partial modulations from the dominant key of C major: C major → B-flat major → A major → G major, before returning to the main key of F major, concluding with a half cadence at measure 26.

The second theme modulates to the dominant key of C major. As mentioned earlier, the three quarter notes motive from the beginning of the first theme here forms a powerful arpeggiated line in octaves in the bass register. In contrast to this powerful opening, a light, repetitive sixteenth-note figure appears. This sixteenth-note figure can also be seen as derived and developed from the sixteenth-note motive starting in measure 7 of the first theme.

From measure 35, the transition section begins. Similar to the transition after the first theme, eighth-note triplets are used here, but with richer nuance. It progresses as a sequence where two movements—a staccato descending figure and a slurred ascending figure—form a single set.

From measure 43, the closing section begins. The ascending motion through the harmonic progression of I → V7 in second inversion → I in first inversion within the closing theme is akin to the anabasis figure in the Baroque era, providing a sense of exhilaration.

Compared to the exposition and recapitulation, the development section is somewhat shorter. It is composed of two parts: the first part develops the eighth-note triplet motive from the exposition's transition section. The second part develops the second theme motive through a sequence. From these movements, the music eventually converges to D minor, the relative minor of the main key, leading to a half cadence in F major from measure 82.

From measure 83, the recapitulation section begins.

From measure 95, the transition section begins. From measure 101, it descends via a sequence, similar to the exposition. However, while eighth-note triplets flow in the inner voice, the upper voice plays the leading tone → tonic as a single note, and the lower voice plays the seventh of the dominant chord → the third of the tonic chord (I) in octaves, creating a two-voice interplay.

From measure 109, the second theme is recapitulated. In the exposition, the music proceeded directly to the transition section after the presentation of the second theme. However, in the recapitulation, after the second theme is recapitulated, the theme motive is developed through a sequence before leading to the transition section.

Similar to the exposition, the transition section leads to an overall ascending progression, culminating in an exhilarating conclusion.

Author : Ooi, Kazurou

Last Updated: July 21, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

First Movement: Character and Interpretation

First, it is crucial to grasp that the first movement of this sonata is profoundly optimistic. However, it is not merely optimistic; it is brimming with mischievousness and playfulness. It is by no means rigid or severe music. Rather, it is a movement where one should feel the beat precisely, maintain the tempo without disruption, and yet play with a sense of free abandon.

Therefore, instead of playing with a furrowed brow, one should play with a smile (even if it is difficult, maintain that feeling). Consequently, sudden fortes (sub. F) like those in measures 7 and 10 should not be interpreted as overly forceful, but rather as a gentle surprise within the overall tenderness.

The left hand, starting from measure 27, gives the impression of playfully teasing another singer. The other singer then begins to speak at a rapid pace from measure 28, and in measure 29, joins in, creating an image of playful banter together. Imagine the entire movement as if it is telling a joke.

Within the exposition, there is one section, from measures 43 to 53, where sensuality, beauty, and tenderness emerge. The sixteenth notes in the left hand during this section, in the author's personal opinion, do not need to be played dry; pressing the pedal for 1 to 2 beats can create an elegant and beautiful effect, providing a contrast with other sections.

Regarding pedal usage in this section:

  • Measures 43-45: Depress the pedal for 1 to 2 beats.
  • Measure 46: No pedal.
  • Measure 47: Depress the pedal for 1 to 3 beats, or alternatively, 2 to 3 beats.
  • The same applies thereafter.

Play without producing harsh sounds, but rather:

  • Lightly
  • Gracefully
  • Joyfully
  • With a sense of playfulness

Writer: Ooi, Kazurou

Reference Videos & Audition Selections(2items)

演奏:米川 幸余
吉川すみれ:第8回(2023年度)ソナタコンクール入賞者動画