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PIANO SONATA No. 1 in C major K279
Mozart wrote this first real sonata when he was 19 years old during his concert tour
to Italy, while he was working on the composition of the opera "La finta giardiniera".
The style of the sonata draws elements from different musical sources. The first
movement is strongly rooted in the classical style with baroque elements, the slow
movement has a singing italianate character, and Papa Haydn is peeping around the
corner in the witty finale.
All three movements are in Sonata form. The piano writing is very "pianistic", and
demands great dexterity and even virtuosity from the player. In the recapitulation of
the first movement Mozart does not simply repeat the exposition but is constantly
inventing surprising turns of melody and harmony, in an almost improvisatory way.
The second movement is unique with its aria-like melody, and free flow of ideas,
evoking a sweet, "dolce", mood. The finale brims with vitality and good humor, spiced
with almost burlesque elements.
PIANO SONATA No. 2 in F major K280
This sonata is modelled on a sonata of Haydn in the same key, which had appeared
some time earlier. Both slow movements of the sonatas are in F minor and are
marked "Adagio", and both are in the Siciliano rhythm.
The principal theme, consisting of several contrasting motives, is followed by a
subject in triplets, containing some interesting chromatic episodes. The movement
abounds in playful scales and runs, giving the player ample opportunity to exhibit his
virtuosity. The slow movement is a miracle of concentration and expression of
feeling. The profundity, the expression of pain and anguish, foreshadows the later
Mozart in his great dramatic minor key works. The Finale clears all dark clouds, and
is a feast of surprises, jokes and "Spielfreude".
PIANO SONATA No. 3 in B flat major K281
In the first movement Mozart fully explores the tonal resources of the instrument,
letting it sound in rich chords and vibrating accompaniments. The movement
abounds in free improvisatory development and rich variation of the lyrical main
theme.
The slow movement is a perfect example of the "gallant style". The amoroso character
of the music demands a graceful execution, never yielding to explicit sentimentality.
The third movement is called "Rondeau", and is based on a theme in Gavotte style.
The music, although refined after the French style, also contains unexpected dramatic
passages in minor keys.
PIANO SONATA No. 4 in E flat major K282
This sonata unexpectedly begins with a slow movement, followed by a minuet, and
ends with an allegro movement. The extraordinary Adagio is full of lyricism and
quietly flowing cantilenas. The second movement consists of two minuets, both in
simple, folk-like language. The last movement is reminiscent of Haydn and concludes
the sonata in a gay and carefree mood.
PIANO SONATA No. 5 in G major K283
This sonata in G major (the only one in this key) is full of light, gaiety and song-like
phrases, and reminds one of the sonatas of Johann Christian Bach, who was an
important model for the young Mozart.
The "italian" character of the music is clearly shown already in the first movement,
where even in the development section, usually of dramatic character, there is not a
trace of struggle, all minor key feelings being avoided. The slow movement bring an
innocent feeling of happiness, which is clouded over in the middle section, where the
theme appears in A minor. The recapitulation brings relief and flows on in radiant
cantilenas.
The last movement is a sparkling Presto, bearing a close resemblance to the finale of
the piano sonata No. 2, also in 3/8 measure, and breathing the spirit of the Opera
Buffa.
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