Piano Sonata No. 8 (Mozart)

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Wolfgang Amadeus Mozart (posthumous portrait by Barbara Krafft )

The Sonata No. 8 in D major KV 311 (284c) (in the counting method of the Köchel catalog No. 9) is a piano sonata by Wolfgang Amadeus Mozart . He dedicated the work, composed in the late summer of 1777, to the daughters of Hofrat Freysinger, a former colleague of his father Leopold from Augsburg .

The composition comprises the three movements Allegro con spirito , Andantino con espressione and Rondo Allegro . In addition to the Piano Sonata in C major, K. 309 (248b) it is among the Mannheim sonatas that a longer, finally after over Paris leading tour in Mannheim emerged.

Gestures of the Mannheim symphony are recognizable in her playful, virtuoso, partly orchestral passages .

construction

1st movement: Allegro con spirito

As in other sonatas, the first question that arises is which of the numerous ideas is the actual theme of this sonata movement . Comparable to Sonata No. 6 KV 284 , the movement begins with a strong D major chord, which would also be suitable as a final sound.

After a lively, from sixteenth-runs and broken chords existing reconciliation, which is also an accompaniment is added (bars 10-16), which by its starts suspensions charming lyrical second theme of the second subject in the dominant key A major from bar 17, the two-time Motif repetition (bars 18 and 22) in the darkening typical of Mozart leads shortly after B minor , in order to allow new motifs to appear from bar 28 after a virtuoso sixteenth note passage.

Original pastoral, two-bar circuit, which, surprisingly, at the beginning which is carrying out thematic quality wins. In an orchestral way, Mozart leads this secondary motif through various instrument parts.

With abbreviated phrases, narrowing and tremolating sixteenth notes (bars 48–51) played by the right hand, the development appears extremely concertante . As in many of his sonatas, he does not deal with the first theme of the exposition , but predominantly secondary motifs.

The recapitulation begins from bar 79 with the theme of the subordinate movement in the main key of D major. The short coda beginning at bar 105 leads to a surprising harmonic softening to B minor, after which the pastoral turn introduces the harmonic conclusion.

2nd movement: Andante con espressione

The slow middle movement in G major , in 2/4 time, is a lyrical, rondo-like Andante, the first theme of which is given a floating effect by the fifth D in the tenor, an effect that Mozart is familiar with for the song-like theme of the first movement of his A major sonata takes up again.

3rd movement: Rondeau (allegro)

With its exuberant joy in playing, the rondo finale, reminiscent of a gigue , ties in with the first movement in 6/8 time with a clear fifth case sequence in bars 133–136. The virtuoso-brilliant concert piece surprises with an inserted cadenza .

background

In October, Mozart, accompanied by his ailing mother, went on a longer tour of guest performances that was to take him to Paris. He first went to Munich , where he met Ignaz von Beecke , to whom he played the sonatas KV 280 and 282, and then via Augsburg to Mannheim. The sonata was written shortly before he left for Paris, where he composed the gloomy A minor sonata (with the misleading KV numbering 310) and was confronted with strokes of fate such as the death of his mother Anna Maria Mozart .

Web links

Individual evidence

  1. ^ Günther Batel: Masterpieces of Piano Music, Wolfgang Amadeus Mozart, Sonatas. Fourier Verlag, Wiesbaden 1997, p. 164.
  2. ^ Marie-Agnes Dittrich, In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter / Metzler, Stuttgart / Kassel 2005, p. 511.
  3. ^ Marie-Agnes Dittrich, In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter / Metzler, Stuttgart / Kassel 2005, ISBN 3-476-02077-0 , p. 512.
  4. ^ Marie-Agnes Dittrich, In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter / Metzler, Stuttgart / Kassel 2005, p. 513.
  5. ^ Günther Batel: Masterpieces of Piano Music, Wolfgang Amadeus Mozart, Sonatas. Fourier Verlag, Wiesbaden 1997, p. 164.
  6. ^ So Marie-Agnes Dittrich, In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter / Metzler, Stuttgart / Kassel 2005, p. 513.