Piano Sonata No. 6 (Mozart)

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The Piano Sonata No. 6 in D major KV 284 (205b) by Wolfgang Amadeus Mozart is a piano sonata with three movements. It was composed during the trip to Munich on the occasion of the production of the opera La finta giardiniera between late 1774 and March of the next year, when Mozart was 18 years old, and is the sixth of a cycle of six sonatas of increasing difficulty on this one Trip. The work is subtitled "Dürnitz", which was written for the amateur bassoonist and pianist , Freiherr Taddäus von Dürnitz. Since von Dürnitz did not give him the expected recognition, Mozart later dedicated the sonata to the Countess von Cobenzl, the daughter of Philipp von Cobenzl , at whose castle Cobenzl Mozart frequented.

The average performance is between 20 and 25 minutes

sentences

1st movement: Allegro

For the first time Mozart ventures into the orchestral setting in this piano work and the sonata lives from the alternation between tutti and solo . The first movement of this sixth and at the same time the most demanding and brilliant sonata of his first cycle begins in unison: the first thematic group consists of 12 bars with a three-part structure. With the first motif, the note values ​​in the first movement are twice as fast, with the other two motifs in the first subject group, the reverse is true. After ten bars, the delicate and unanimously beginning side motif appears in the dominant , which is then processed in terms of motifs before the final group appears. Descending sixth chords represent the bridge from baroque to classical music. From bar 52, Mozart modulates through various minor keys until the recapitulation appears in bar 72 , which is kept in the tonic .

2nd movement: Rondeau en polonaise (Rondo and Polonaise)

The slow name Andante is atypical . The shape of this dialog-like Rondo, which is emphasized by dynamic rules, corresponding to the Sonata Rondo A-B-A-C-A-B-A-D, where C is the implementation corresponds to D and the Coda .

3rd movement: Tema con variazione

The last virtuoso and happy movement in the Gavotte rhythm has a total of 12 variations. The theme and the variations consist of the formal scheme A – A – B – A, with each section consisting of four bars; after eight bars a repetition symbol is set.

In the first variation Mozart uses triplets and in the next the theme is split on both hands. In Variation III the theme consists of 16th notes. In the fourth variation, the 16th notes change to the left hand and the right hand consists primarily of chords. Then Mozart uses repetition and paraphrase notes in Variation V in his right hand. In the next variation, Mozart then uses broken triads in the middle voice. The seventh variation is in D minor , the minor tonic. Variation VIII consists primarily of octaves in the right melody part. In Variation IX the themes begin with a time delay in the respective parts. In the next variation, the theme begins in the first and third form parts in the left hand, the right hand being accompanied by broken octaves. This is the other way around in the molded parts. The XI. Variation contains the tempo designation adagio cantabile and is twice as long, with the second occurring threefold. This variation is in a relatively little ornate version in the autograph and it can be assumed that Mozart played it when he performed the sonata himself, depending on his mood. One of these decorations appeared later in Vienna in 1784 at the time of printing and shows how Mozart ornamented. In the last variation the tempo (Allegro) and even the measure (3/4) are changed again. This, too, is significantly longer with 38 bars and, like the variation before, does not contain any repetition.

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