Analysis: Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1). The sixteenth-note figure is M1. (0:05) Counter-Theme 1 (P2), with dominant pedal point. Notice how the linking run (m. 7-8) is actually based on a combination of M1 and m. 3! (0:13) Counter-Theme 2 (P3), with tonic pedal point. (0:19) Transitional Theme 1 (Tr1), modulating to V. (0:25) Transitional Theme 2 (Tr2), using M1 to consummate the Half-Cadence. (0:33) Secondary Theme (S1). The syncopated notes are M2. (0:46) Counter-Theme 3 (S2), resembling Tr1. (0:52) Pre-cadential Theme 1 (Cad1): M2 starts to be developed in the secondary dominant, preparing us for the Codetta. (0:59) Pre-cadential Theme 2 (Cad2): However, a series of arpeggios takes place, being interrupted twice by another (V/V) figure that leads us to a wrong tonic cadence. (1:12) Pre-cadential Theme 3 (Cad3): a last serene pause comes in to correct the tonality and finally conduct us to the (1:15) Codetta. DEVELOPMENT (2:43) Episode 1: modulatory development of Tr2 through minor keys (Am, Em, Bm). (2:56) Episode 2: still modulating through minor keys (Bm, F#m, Em, B♭dim7). The hand-crossing answers persist. (3:05) Episode 3: the hand-crossing toccata-like answers expand, modulating to the secondary dominant (Dm, B♭, E♭, E7). (3:12) That scalar passage in P2 (0:10) comes back, leading us to RECAPITULATION (3:15) P1 + P2 + P3 + Tr1 + Tr2. (3:48) S1 + S2 in the tonic (and I have to point out that breath-taking ascending moment at 3:53). (4:02) Cad1 + Cad2 mainly in V7, preparing us for the Coda. (4:28) As if all that cadential antecipation wasn't enough, Cad3 is elongated even further in Recap. (4:38) Finally, the Coda. Mvt 2: Rondeau en Polonaise [Sonata-Rondo form] |=> This movement is very interesting, for it blends together three musical styles/forms: The Sonata-Rondo (ABACB'A structure), the Polonaise (triple time, Andante, regular and sequential) and the Theme & Variations (if you ignore the episodes, this could easily be a Theme with 6 Variations, antecipating mvt. 3). SECTION A (4:51) Theme A (A1) in A major, second time with a tiny variation in triplets (Variation 1). (5:32) Transition Section: actually, a less obvious variation of A1 with heavy ornamentation (Variation 2). SECTION B (5:53) Episode B, solar scales in the dominant. SECTION A (6:07) A1, exploring abrupt dynamic changes (Variation 3). (6:28) Variation 4: the dynamic changes invert positions and the triplets of Var. 2 return. SECTION C (6:50) Episode C in the relative minor, resembling the Transition. (7:06) Instead of the expected return of A1, we go straight into the Transition. The tonic preparation indicates that this is a Sonata-Rondo. SECTION B (7:27) Episode B in the tonic. There's a funny hesitation to revisit A1, probably fearing how virtuosic the last Variations will be. SECTION A (7:53) Finally, the two grandiloquent, show-off versions of A1. Variation 5 explores the heavily-ornamented aspect of Var. 2, while Variation 6 expands the triplets of Var. 1 and 4. (8:52) After some hesitation and silence, a well-behaved Coda that brings back the Theme's tail (5:27) closes the movement. If we consider the ambiguity of this movement, this Coda could also be considered the final statement of the original Theme after the Variations. Mvt 3: Tema con variazioni (9:09) Theme, in Ternary Form (AABA'BA'). (10:07) Variation 1: the melody is reduced to LH chords with triplet accompaniment in RH. The syncopations produce an interesting effect. (11:01) Variation 2: nice rhythmic contrast between sixteenths and triplets, more like a conversation between hands. (11:57) Variation 3: same principle of Var. 1, but now with sixteenth notes instead of triplets and laconic octave phrases instead of dry chords. (12:52) Variation 4: the first notes of the main Theme (9:11) are transformed into an interesting pattern that accompanies a skinnier version of the original melody. (13:50) Variation 5: a calm version of the Theme consisting of repeated notes accompanied by thirds. (14:47) Variation 6: lively toccata-like hand-crossing dialogue. (15:43) Variation 7: right after the middle of the movement, a grumpy (and quite cynical) variation in the parallel minor. (16:41) Variation 8: back to major, cheerful octaves and thirds dance across the keyboard in march-like rhythms. Notice how far we already got from the original Theme. (17:37) Variation 9: preserving the previous variation's mood and color, this one plays with syncopation and funny imitative dialogues. (18:31) Variation 10: the motivic element here is this flickering octave tremolo, swapping hands now and then. (19:27) Variation 11: and we enter the spectacularly beautiful penultimate variation. Its romantic and improvisatory character resembles genres like the Fantasy or the Impromptu - with that heavily-ornamented melody (to the point of making the theme unrecognizable) above a very stable bass. At first sight it seems completely detached from the original Theme, but looking closely you can see that it fits perfectly in the Expanded Ternary Form scheme (AABA'BA'), as shown ahead: A (19:27), A (20:13), B (21:01), A' (21:26), B (21:57), A' (22:23). (23:04) Variation 12: exactly the same structure as Var. 11 (the "outstretched" Ternary Form), but now at a fast tempo and combining elements from all previous variations. A1 (23:04), A2 (23:14), B (23:24), A1 (23:30), B (23:36), A2 (23:41).
@@andrewlee1336 You're welcome! Actually no, I have absolutely no formal training in Music Theory (I study Linguistics, actually haha). But I love it so so much that I decided to study by myself and create this channel. In fact, I was kinda afraid to make these analyses public, because I certainly would screw something up, but then I thought "why not? Someone could correct me and make me learn more".
I was going through this sonata today. Just sightreading. and was totally floored by the finale. What is Mozart playing at here? I listened to Eschenbach playing it earlier and he makes it Beethovenian with sforzando bass notes in those odd gaps between the sections although he does play the slow variation very beautifully with much unclassical rubato which works very well here actually. Uchida manages it in a much more Mozartian way keeping the sfz bumps tasteful and making beautiful shapes with the extremely complex finger passages. There is one variation which has a simple alberti bass with extraordinary almost jazzlike improvisatory arabesques in the right hand and she plays this just magically. This is Mozart at his best to be sure although overall the movement still puzzles me. It is also extremely difficult!
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤😊❤❤
@@_gg8036 I agree with this. The speed on it’s own isn’t bad, but when you have to cross over at high speed, it disorients your hands and makes you mix up one hand’s notes with the other’s. Or maybe I just need to practice more 🫣
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤😊
@@christianweatherbroadcasting I’m a Christian and I do love Jesus. But this comment has no point nor relation to the video. So please quit with this spam 💩
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16
I'm learning this for my AMEB Grade 8 exam. It's so delicate yet so virtuosic. Mozart was probably very happy when he wrote this, it's quite clear. And yes i agree with you, it is very wild. I am quite nervous to play this tbh since Mozart is always so hard technically and musically as well. Edit: I'm learning the 1st Mov. only. Whole sonata for an exam plus 3 other pieces would be too much :)
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤😊
Having ads appearing at various random intervals in a continuing classical piece of music is completely idiotic. Having them at the beginning and the end (if you must) is fine -- but dropped in at random ruins everything. (What sort of musical Philistines ARE you?)
@UA-cam all it does is make me MORE inclined to go buy the music I want to listen to on iTunes. Then I don’t get ads halfway through my songs, and you don’t get any revenue from any ads.
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤😊❤
![Mozart: Piano Sonata No. 7 in C major, K.309 [Uchida]](http://i.ytimg.com/vi/1yCGTrvxSVY/mqdefault.jpg)
![Mozart: Piano Sonata No. 7 in C major, K.309 [Uchida]](/img/tr.png)
Analysis:
Mvt 1: Allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1). The sixteenth-note figure is M1.
(0:05) Counter-Theme 1 (P2), with dominant pedal point. Notice how the linking run (m. 7-8) is actually based on a combination of M1 and m. 3!
(0:13) Counter-Theme 2 (P3), with tonic pedal point.
(0:19) Transitional Theme 1 (Tr1), modulating to V.
(0:25) Transitional Theme 2 (Tr2), using M1 to consummate the Half-Cadence.
(0:33) Secondary Theme (S1). The syncopated notes are M2.
(0:46) Counter-Theme 3 (S2), resembling Tr1.
(0:52) Pre-cadential Theme 1 (Cad1): M2 starts to be developed in the secondary dominant, preparing us for the Codetta.
(0:59) Pre-cadential Theme 2 (Cad2): However, a series of arpeggios takes place, being interrupted twice by another (V/V) figure that leads us to a wrong tonic cadence.
(1:12) Pre-cadential Theme 3 (Cad3): a last serene pause comes in to correct the tonality and finally conduct us to the
(1:15) Codetta.
DEVELOPMENT
(2:43) Episode 1: modulatory development of Tr2 through minor keys (Am, Em, Bm).
(2:56) Episode 2: still modulating through minor keys (Bm, F#m, Em, B♭dim7). The hand-crossing answers persist.
(3:05) Episode 3: the hand-crossing toccata-like answers expand, modulating to the secondary dominant (Dm, B♭, E♭, E7).
(3:12) That scalar passage in P2 (0:10) comes back, leading us to
RECAPITULATION
(3:15) P1 + P2 + P3 + Tr1 + Tr2.
(3:48) S1 + S2 in the tonic (and I have to point out that breath-taking ascending moment at 3:53).
(4:02) Cad1 + Cad2 mainly in V7, preparing us for the Coda.
(4:28) As if all that cadential antecipation wasn't enough, Cad3 is elongated even further in Recap.
(4:38) Finally, the Coda.
Mvt 2: Rondeau en Polonaise [Sonata-Rondo form]
|=> This movement is very interesting, for it blends together three musical styles/forms: The Sonata-Rondo (ABACB'A structure), the Polonaise (triple time, Andante, regular and sequential) and the Theme & Variations (if you ignore the episodes, this could easily be a Theme with 6 Variations, antecipating mvt. 3).
SECTION A
(4:51) Theme A (A1) in A major, second time with a tiny variation in triplets (Variation 1).
(5:32) Transition Section: actually, a less obvious variation of A1 with heavy ornamentation (Variation 2).
SECTION B
(5:53) Episode B, solar scales in the dominant.
SECTION A
(6:07) A1, exploring abrupt dynamic changes (Variation 3).
(6:28) Variation 4: the dynamic changes invert positions and the triplets of Var. 2 return.
SECTION C
(6:50) Episode C in the relative minor, resembling the Transition.
(7:06) Instead of the expected return of A1, we go straight into the Transition. The tonic preparation indicates that this is a Sonata-Rondo.
SECTION B
(7:27) Episode B in the tonic. There's a funny hesitation to revisit A1, probably fearing how virtuosic the last Variations will be.
SECTION A
(7:53) Finally, the two grandiloquent, show-off versions of A1. Variation 5 explores the heavily-ornamented aspect of Var. 2, while Variation 6 expands the triplets of Var. 1 and 4.
(8:52) After some hesitation and silence, a well-behaved Coda that brings back the Theme's tail (5:27) closes the movement. If we consider the ambiguity of this movement, this Coda could also be considered the final statement of the original Theme after the Variations.
Mvt 3: Tema con variazioni
(9:09) Theme, in Ternary Form (AABA'BA').
(10:07) Variation 1: the melody is reduced to LH chords with triplet accompaniment in RH. The syncopations produce an interesting effect.
(11:01) Variation 2: nice rhythmic contrast between sixteenths and triplets, more like a conversation between hands.
(11:57) Variation 3: same principle of Var. 1, but now with sixteenth notes instead of triplets and laconic octave phrases instead of dry chords.
(12:52) Variation 4: the first notes of the main Theme (9:11) are transformed into an interesting pattern that accompanies a skinnier version of the original melody.
(13:50) Variation 5: a calm version of the Theme consisting of repeated notes accompanied by thirds.
(14:47) Variation 6: lively toccata-like hand-crossing dialogue.
(15:43) Variation 7: right after the middle of the movement, a grumpy (and quite cynical) variation in the parallel minor.
(16:41) Variation 8: back to major, cheerful octaves and thirds dance across the keyboard in march-like rhythms. Notice how far we already got from the original Theme.
(17:37) Variation 9: preserving the previous variation's mood and color, this one plays with syncopation and funny imitative dialogues.
(18:31) Variation 10: the motivic element here is this flickering octave tremolo, swapping hands now and then.
(19:27) Variation 11: and we enter the spectacularly beautiful penultimate variation. Its romantic and improvisatory character resembles genres like the Fantasy or the Impromptu - with that heavily-ornamented melody (to the point of making the theme unrecognizable) above a very stable bass. At first sight it seems completely detached from the original Theme, but looking closely you can see that it fits perfectly in the Expanded Ternary Form scheme (AABA'BA'), as shown ahead: A (19:27), A (20:13), B (21:01), A' (21:26), B (21:57), A' (22:23).
(23:04) Variation 12: exactly the same structure as Var. 11 (the "outstretched" Ternary Form), but now at a fast tempo and combining elements from all previous variations. A1 (23:04), A2 (23:14), B (23:24), A1 (23:30), B (23:36), A2 (23:41).
Thank you! Are you a musicologist?
@@andrewlee1336 You're welcome!
Actually no, I have absolutely no formal training in Music Theory (I study Linguistics, actually haha). But I love it so so much that I decided to study by myself and create this channel.
In fact, I was kinda afraid to make these analyses public, because I certainly would screw something up, but then I thought "why not? Someone could correct me and make me learn more".
@@miguelfontesmeira That's amazing!
@@jackgoebel8360 Thanks!
Still sounds the same after your analysis. 🤣
I was going through this sonata today. Just sightreading. and was totally floored by the finale. What is Mozart playing at here? I listened to Eschenbach playing it earlier and he makes it Beethovenian with sforzando bass notes in those odd gaps between the sections although he does play the slow variation very beautifully with much unclassical rubato which works very well here actually. Uchida manages it in a much more Mozartian way keeping the sfz bumps tasteful and making beautiful shapes with the extremely complex finger passages. There is one variation which has a simple alberti bass with extraordinary almost jazzlike improvisatory arabesques in the right hand and she plays this just magically. This is Mozart at his best to be sure although overall the movement still puzzles me. It is also extremely difficult!
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊❤❤
@@christianweatherbroadcasting Slightly offtopic though sir.
Nice analysis. Do what is right; play Mozartian, follow score, and add whatever you can from yourself. It’s an awesome piece
@@christianweatherbroadcasting YOU HAVE TAKEN A WRONG TURNING, METHINKS!!!
YOu can sight read this? Is sight reading a piece like this even possible?
I've played the first movement of this sonata, and I can tell you that the hardest part was 1:01, with the 32nd double thirds.
2:42 is the hardest！Crossing two hands with 32nd running
@@_gg8036 I agree with this. The speed on it’s own isn’t bad, but when you have to cross over at high speed, it disorients your hands and makes you mix up one hand’s notes with the other’s. Or maybe I just need to practice more 🫣
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊
@@christianweatherbroadcasting I’m a Christian and I do love Jesus. But this comment has no point nor relation to the video. So please quit with this spam 💩
For me this is the correct tempo!
too fast for Mozart
1:15 this part sounds like Schubertz' 4th impromptu op. 90.
Yeah that means Schubert heard this sonata and played it.
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16
4:33 is nice
12:53
This Piece is so wild. I wonder what was occurring in Mozarts life when he wrote this. Anyone have any ideas?
I'm learning this for my AMEB Grade 8 exam. It's so delicate yet so virtuosic. Mozart was probably very happy when he wrote this, it's quite clear. And yes i agree with you, it is very wild. I am quite nervous to play this tbh since Mozart is always so hard technically and musically as well.
Edit: I'm learning the 1st Mov. only. Whole sonata for an exam plus 3 other pieces would be too much :)
@@pianocello845 Same here
He and Costanza were calculating how much money it might make them 😁
This ain't nearly as wild as the Magic Flute and Don Giovanni.
@@maryvasilakakos7387 δίκιο έχετε! Χαχα, πετυχημένο το σχόλιόν σας…
I love Uchida's abilities to play with precision, but she's going100 mph in a 70 mph musical hiway. I wonder if she drives the same way. Look out!
Funnily this piece is one pf the pieces I prefer to be played faster
Totally agree, that's not an athletic competition who runs faster
Yes. This is Vivace, I could play Alkan Concerto at this speed. 😓
This fast makes Mozart annoying
Amazing
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊
I like the Allegro at 0.6 speed
analysing this piece actually gives me headache
I particularly like Variation 4 😂
Edit: and 6
Girlfriend coming over to cook salt fish fried rice for Mozart...she not coming with her mom😊
Nice
2:43 sounds like Beethoven. And its child mozart.
4:12
3:54
❤
BRAVOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO........................................
I believe you omitted a few letters!!!!!
Having ads appearing at various random intervals in a continuing classical piece of music is completely idiotic.
Having them at the beginning and the end (if you must) is fine -- but dropped in at random ruins everything.
(What sort of musical Philistines ARE you?)
if I remember correctly UA-cam now puts ads on videos regardless of whether it's monetized, and creators can't control where to place them
@UA-cam
all it does is make me MORE inclined to go buy the music I want to listen to on iTunes. Then I don’t get ads halfway through my songs, and you don’t get any revenue from any ads.
tom and angela
huh
huh
huh
huh
huh
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤😊❤
huh
Jesus put himself on the cross because he wanted to fulfil the prophesies written hundreds of years earlier.
Shut up.
No dynamics!
That is absolutely not true. This artist prefers a more subtle style, which happens to work quite well for Mozart.
No ears!!!
hahahaha are you sure about this?
No ears
No ears
The ads are really, really annoying. The recording is fake - heavily edited and sped up. 0/10 from me.
11:20