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PIANO SONATA No. 12 in F major K332
In 1781 Mozart, at the age of 25, moved from Salzburg to Vienna and started his
mature creative activities. This is one of his sonatas which are presumed to have been
composed between 1781 and 1783, his first years in Vienna.
The pleasant first subject, a graceful melody in 3/4 time, is followed by sudden
"Mannheim rockets", upwardly surging figurations. The innocent second subject in C
major seems to try to calm down the disturbance. The development does not offer
dramatic struggles, but gently introduces the second subject again, and after a
building up of tension the soothing first melody sets everything apeace.
The beautiful slow movement, with its tender aria-like melody, lacks a more dramatic
middle section, so as not to disturb the atmosphere of peaceful quietness and
unclouded beauty of sound. The finale presents a whirlwind of sixteenth notes in 6/8
time. It presents a fine display of virtuosity, and its exhilarating momentum never
fails to make a deep impression on the audience.
PIANO SONATA No. 13 in B flat major K333
Mozart wrote this sonata in the summer of 1778, during his stay in Paris. Its close
resemblance to the sonatas of Johann Christian Bach is further explained by the fact
that he was also staying in Paris at that time. Both composers had frequent contact
and had great respect for each other.
In the first movement the music flows smoothly with an amiable smile and an Italian
grace. Yet the part writing and the darker shadows sometimes cast on the sunny landscape
unmistakably bear stamp of Mozart's genius.
The slow movement reveals intimate and deep feelings, as often heard in Mozart's
works in E flat major. In the development the fragmented first subject is loaded with
a brooding, even menacing tension, which keeps hanging as a cloud over the
movement until the very end. The third movement, allegretto grazioso, is a rondo
which has evident concerto-like episodes, notably the alternations of "solo" and
"tutti", and the full-scale cadenza at the end, concluding this delightful sonata.
PIANO SONATA No. 14 in C minor K457
This Piano Sonata was written in 1784, the only sonata in the minor key, together
with the A minor K310. The work is one of Mozart's darkest and gloomiest creations,
full of anguish, drama and grief. The piano writing is of high calibre, calling for
virtuoso powers, and already foreshadows the piano works of Beethoven.
A bold subject in parallel octaves in the minor key sets the tone and atmosphere. No
smiling and flowing italianate melodies here, but tight, grim structures, moving on in
inexorable pace.
The second subject is in E flat major, which is transformed into C minor in the
recapitulation, the minor version having a totally new strength and tension. The
development rages towards a climax, and the recapitulation brings no relief, the coda
ending into a dark abyss of C minor.
The slow movement is a richly embellished cantilena, wandering off in distant keys. It
gives the player the opportunity to give his own imagination free reign, a practice
which is customary in the piano concertos.
The last movement presents a syncopated first subject of restless and breathless
character, followed by a violent outcry of repeated octaves and leaps, which
mercilessly recurs several times. The tight and concise character of the music makes it
all the more dramatic and effective. The coda introduces still a new element which
brings this extraordinary sonata to a violent close.
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