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PIANO SONATA No. 6 in D major K284
Mozart wrote this sonata in 1775, when it was commissioned by Baron Thaddäus von
Dürnitz. The style of the first movement is bold, daring and spectacular, brilliantly
written for the piano, using pianistic effects like hand crossing and tremolo. It
contains influences from the Mannheim style, whereas the rich singing lines have an
Italian character.
The second movement is a "Rondeau en Polonaise", a wonderfully "orchestrated"
dance-like piece, where Mozart gives his imagination and fancy full reign.
The third movement is a set of variations on a theme with a Gavotte character. This
beautiful set of variations not merely offers an embellished version of the original
theme, but is constantly changing the character of the theme, from peacefully
dreaming to joyfully gallopping. Mozart skilfully explores all the pianistic resources of
the time, using passages in parallel thirds, octaves, hand-crossing, and trills.
PIANO SONATA No. 7 in C major K309
Mozart composed this sonata for Rosa Cannabich, daughter of the well-known
composer of that time, who was an admirable player.
The first movement opens with a powerful unison theme, followed by a graceful
melody, bringing immediate contrast in the first subject. The second theme appears
further on, and provides a charming and delightful ease. The development follows
the rules of the sonata form by presenting the theme in different keys, also in dark
minor colours.
The slow movement gives a musical picture of Rosa Cannabich, of whom Mozart had
a high opinion (he describes her as highly intelligent, kind and amiable). The music is
a series of variations on a theme of great intimacy, evoking a sense of simplicity and
lightness. Noteworthy are the many detailed performance marks, which should be
strictly observed, according to Mozart.
In the final Rondeau Mozart introduces orchestral effects reminiscent of the
Mannheim Schule. The writing is of virtuoso and brilliant standard. The piece ends
surprisingly with a pianissimo coda.
PIANO SONATA No. 8 in A minor K310
The background to this tragic minor key sonata is the unexpected death of Mozart's
mother , while he was giving concerts in Paris in 1778. The work is of an unusual
dramatic character, and is the expression of deep personal feelings.
The first movement's principal theme, marked Maestoso, begins with a dissonant
appoggiatura.
The dotted rhythm of the theme dominates the whole movement with an almost
obsessive pressure. The second theme is in C major, but the underlying tension also
casts a shadow on this episode, especially when it resolves into minor in the
recapitulation. In the development section the dotted rhythm rages furiously in both
fortissimo and pianissimo, and creates an almost unbearable tension.
The second movement is an Andante, marked "Cantabile con espressione". The many
execution marks relating to phrasing, articulation and dynamics give a good insight
in Mozart's performance practice. The aria-like first section is interrupted by a
dramatic middle section in the minor key, where the bass is making bold gestures
under a frantically leaping accompaniment in the right hand.
The third movement brings no consolation or smiling faces. It is a restless Presto, in
which the music breathlessly chases a phantom. The middle section, in the character
of a musette, gives a glimpse of a better world, but immediately the first theme takes
its course again, and comes to a violent end in the minor key.
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