Piano Sonata No. 7 (Mozart)

from Wikipedia, the free encyclopedia

The Piano Sonata No. 7 in C major, KV 309 (284b) by Wolfgang Amadeus Mozart is a piano sonata in three movements. In addition to the piano sonata in D major KV 311 (284c) , it is one of the Mannheim sonatas , which were composed between 1777 and 1778 during a lengthy guest tour in Mannheim that eventually led to Paris .

The average duration is 16 minutes.

sentences

1st movement: Allegro con spirito

The first movement has no special forms and corresponds to the standard of the sonata main movement form . The headline consists of a broken triad: After a fourth jump from C to G down, there is a sixth jump up to E and ends on the first tone, the C. This is followed by an answer of up to five bars. The theme begins again in measure eight. In terms of content, the motifs are processed between bars 15 and 21. This is followed by scales that lead to the secondary theme, which is now in the dominant G major . The singable theme consists of four times two bars, whereby the theme is repeated in sections and varied. The exposition ends with a final group in measure 58. Via G minor and the processing of the themes, the recapitulation is reached in measure 94, which roughly corresponds to the exposition, with the secondary theme appearing in the tonic .

2nd movement: Andante un poco adagio

The Andante sentence is a "portrait" of his student Rose Cannabich, the 13-year-old daughter of the Mannheim conductor Christian Cannabich . Mozart said of the second movement: “ Like the Andante, she is ... a very beautiful, well-behaved girl. For her age she has very much reason and belief; She is serious, doesn't talk a lot, but what she does is done with grace and friendliness. "The second topic consists of the AB – AB 'form scheme

3rd movement: Rondo (allegretto grazioso)

The form scheme of the Rondo can be represented in simplified form with A – B – A'– C. It is comparable to a sonata rondo , where A is the exposition and A 'is the recapitulation, B can be seen as the development and C can be called the coda .

Web links

Individual evidence

  1. ^ Robert Marshall: Eighteenth-century keyboard music. Routledge, New York 2003, ISBN 0-415-96642-6 , pp. 289-290.