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THE  SONATA,  ITS  FORM  AND  MEANING 

AS  EXEMPLIFIED  IN  THE 
PIANO  SONATAS  BY  MOZART. 


MOZART. 

Portrait  drawn  by  Dora  Stock  when  Mozart 

visited  Dresden  in  1789.    Original  now  in  the 

possession  of  the  Bibliothek  Peters. 


THE 


SONATA  ITS  FORM 
AND  MEANING 

AS    EXEMPLIFIED    IN    THE 

PIANO  SONATAS  BY  MOZART 


A 

DESCRIPTIVE 
ANALYSIS 


BY  F.  HELENA  MARKS 


WITH  MCSICAL  EXAMPLES 


LONDON 
WILLIAM  REEVES,  83  CHARING  CROSS  ROAD,  W.C.2. 

Publisher  of  Works  on  Music. 


BROUDE  BROS. 

Music 
NEW  YORK 


Presented  to  the 

LIBRARY  of  the 

UNIVERSITY  OF  TORONTO 

from 

the  Library  of 

DR.  ARTHUR  PLETTNER 

AND 
ISA  MCILWRAITH  PLETTNER 


Printed  by  The  New  Temple  Press,   Norbury  Crescent,  London,  S.W.16. 


PREFACE. 

IN  undertaking  the  present  work,  the  writer's  intention  originally  was 
to  offer  to  the  student  of  musical  form  an  analysis  of  the  whole  of 
Mozart's  Pianoforte  Sonatas,  and  to  deal  with  the  subject  on  lines  some- 
what similar  to  those  followed  by  Dr.  Harding  in  his  volume  on  Beet- 
hoven. 

A  very  little  thought,  however,  convinced  her  that,  though  students 
would  doubtless  welcome  such  a  book  of  reference,  still,  were  the  scope 
of  the  treatise  thus  limited,  its  sphere  of  usefulness  would  be  somewhat 
circumscribed. 

"  Mozart  was  gifted  with  an  extraordinary  and  hitherto  unsurpassed 
instinct  for  formal  perfection,  and  his  highest  achievements  lie  not  more 
in  the  tunes  which  have  so  captivated  the  world,  than  in  the  perfect  sym- 
metry of  his  best  works In  his  time  these  formal  outlines  were 

fresh  enough  to  bear  a  great  deal  of  use  without  losing  their  sweetness; 
arid  Mozart  used  them  with  remarkable  regularity."*  The  author  quotes 
the  above  as  an  explanation  of  certain  broad  similarities  of  treatment 
which  are  to  be  found  throughout  Mozart's  sonatas.  But  interwoven  with 
these  broad  similarities  there  exists  a  variety  of  detail  in  the  movements 
which  is  worthy  of  the  closest,  the  most  careful  study,  not  only  on  account 
oi  its  diversity  and  its  inherent  beauty,  but  also  on  account  of  the  diver- 
gent views  held  with  respect  to  many  of  the  passages  by  various  well- 
known  writers  on  musical  form.  As  a  teacher,  the  writer  has  found  that 
in  analysing  the  form  and  construction  of  a  movement  it  is,  whenever 
possible,  of  great  value  to  the  pupil  to  deal  with  a  doubtful  passage  thus  : 


*  Sir  C.  Hubert  H.  Parry,  Grove's  Dictionary. 
v 


VI  MOZART'S   PIANOFORTE   SONATAS. 

(i)  To  bring  to  his  notice  the  varying  views  held  by  different  authori- 
ties; 

(ii)  To  compare  these  views  (of  which  occasionally  the  number  is 
equal  to  that  of  the  authorities  expressing  them),  and  to  discuss 
the  arguments  both  for  and  against  each  of  the  theories  ad- 
vanced. 

The  course  recommended  demonstrates  the  fact  that  there  can  be  no 
such  thing  as  dogmatism  on  this  subject,  and  far  from  tending  to  make 
ihe  student  quibble,  it  trains  him  from  the  beginning  to  adopt  broad 
methods  in  his  musical  analysis.  He  is  taught  to  recognise  that  there  are 
many  passages  which  it  is  impossible  to  define  with  any  degree  of  cer- 
tainty, and  that  there  will  be  found  a  still  larger  number  (more  especially 
in  modern  music)  merging  gradually  into  each  other,  and  making  it  there- 
tore  impossible  to  determine  the  exact  starting,  or  exact  finishing,  point, 
both  of  these  being,  in  some  instances,  equally  indefinite.  The  subject 
presented  to  him  in  this  manner,  the  student  learns  important  general 
principles  upon  which  to  base  his  method  of  work  when  he  meets  with 
cases  of  doubt. 

He  learns  that  he  should,  first  of  all,  in  every  instance,  endeavour  to 
determine  for  himself  the  various  possible  aspects  in  which  the  matter 
under  consideration  may  be  viewed.  It  is  of  no  moment  whether  the 
question  at  issue  refers  to  the  "  form  "  of  a  movement,  to  the  analysis  of 
any  particular  portions  of  it,  or  (when  it  is  not  a  case  of  merging)  to  the 
point  at  which  an  important  division,  or  a  special  passage,  may  be  re- 
garded as  starting  or  finishing.  In  cases  such  as  the  last-named,  he 
should  carefully  note  each  place  at  which  such  start y  or  close,  can  con- 
ceivably be  held  to  occur. 

So  long  as  he  can  satisfy  himself  that  he  has  done  all  this,  so  long 
as  he  can,  not  only  state  clearly  what  reasons  might  be  urged  in  favour 
ot  each  view,  but  also  give,  when  possible,  some  indication  of  the  relative 
value  of  different  arguments,  it  is  as  unnecessary  for  him  to  express  a 
decided  opinion,  as  it  is  often  absolutely  impossible  for  him  to  do  so. 

To  offer  to  students  a  work  embodying  the  foregoing  principles  has 
been  the  author's  aim  throughout,  and  she  believes  that  the  idea  of  a  com- 
parative analysis  as  extended  in  scope  as  that  offered  in  the  present 
volume  is  quite  new  in  a  published  work. 

To  carry  out  her  purpose  she  has  made  her  collection  of  the  opinions 
and  views  of  well-known  writers  on  musical  form  as  exhaustive  as  prac- 
ticable, offering  due  acknowledgment. 


PREFACE.  Vil 

The  Thematic  Schemes  accompanying  the  sonatas  are,  for  the  most 
part,  the  result  of  independent  analysis,  but,  in  the  few  instances  in  which 
the  writer  has  found  that  there  is  a  preponderance  of  opinion  not  in  agree- 
ment with  her  own  views,  the  Schemes  have  been  altered  so  as  to  be  in 
accordance  with  those  more  generally  accepted. 

In  furnishing  many  of  the  minor  details  as  to  construction,  etc.,  in 
repeatedly  calling  attention  to  particular  chords,  and  to  the  different  pro- 
gressions and  passages  in  which  they  are  found,  the  author's  primary 
object  has  been  to  point  out  these  features  to  the  student  who  is  studying 
the  sonatas  with  the  instrument.  He  thus  very  possibly  makes  his  first 
acquaintance  with  some  of  these  chords  as  they  occur  in  actual  use. 

In  the  case  of  the  more  rarely  employed  chords,  his  attention  in  cer- 
tain instances  is  also  called  to  the  conditions  under  which  they  occur  :  con- 
ditions to  which,  in  the  past,  the  particular  chords  in  question  were  re- 
stricted by  special  rules  which  governed  their  employment  and  progres- 
sion.*! 

Clearly  this  is  a  most  effective  way  of  studying  Harmony. 

Numerous  quotations  illustrative  of  the  different  points  as  they  occur, 
have  been  made,  with  due  acknowledgment,  throughout  the  book,  the 
writer  hoping  thereby  to  increase  the  interest  and  utility  of  the  volume. 
From  a  like  motive  she  has  made  constant  use  of  equivalent  terms  to  ex- 
press similar  ideas. 

The  author  takes  this  opportunity  of  expressing  her  sincere  thanks 
and  deep  appreciation  to  Sir  W.  H.  Hadow,  M.A.,  D.Mus.,  etc.,  and  to 
Dr.  H.  H.  L.  Middleton,  F.R.C.O.,  L.R.A.M.,  etc.,  for  their  valuable  per- 
sonal help.  The  benefit  of  their  views  on  various  debatable  points  that 
have  arisen  during  the  preparation  of  the  book  has  been  invaluable. 

In  the  production  of  a  text-book  such  as  the  present  one  the  works 
of  many  writers  have  necessarily  been  consulted.  The  author  gratefully 
acknowledges  her  indebtedness  not  only  to  the  authors  of  these  works, 
but  also  to  their  publishers,  for,  to  the  latter,  in  every  instance,  the  copy- 
right of  the  works  belongs.  She  sincerely  thanks  all  for  their  courtesy 
?,nd  kind  permission  to  make  the  necessary  references  and  quotations.  In 

*  The  student  must  realise  that  many  of  the  laws  which  governed  the  methods 
of  the  great  classical  composers  have  gradually  been  relaxed,  till  to-day  freedom  is 
the  keynote  in  composition,  and  to  future  generations  must  belong  the  task  of  form- 
ulating the  laws — if  any — which  underlie  some  of  the  works  of  our  modern  composers. 

t  For  the  rules'  and  recommendations,  etc.,  which  affect  the  more  generally  em- 
ployed chord  progressions  of  which  mention  is  made,  the  student  should  refer  to  one 
of  the  numerous  text-books  on  Harmony. 


Viii  MOZART'S   PIANOFORTE    SONATAS. 

order  to  give  clearly,  and  in  as  concise  a  manner  as  possible,  the  names 
of  the  various  books  above  referred  to,  together  with  those  of  their  authors 
and  publishers,  the  author  has  arranged  the  following  bibliography.  In 
it  -will  also  be  found  full  details  of  the  use  made  of  each  individual  work. 


F.  HELENA  MARKS. 


10  MATHESON  ROAD, 
LONDON,  W.i4. 
1921. 


BIBLIOGRAPHY. 


The  first  column,  in  all  cases,  gives  the  page  number  with  that  of  the  para- 
graph, or  section  (marked  §)  of  the  work  from  which  the  quotation  or  reference  is 
taken ;  the  second  column  refers  to  pages  and  paragraphs  of  the  present  work. 


The  symbols  *,  f,  etc.,  refer  to  footnotes  similarly   marked. 


BANISTER,  HENRY  C. 

"Lectures  on  Musical  Analysis." 
Messrs.  G.  Sell  and  Sons}  Ltd. 

18-19 ;  127  ; 

19  ;  42  (c) ; 

60  ;  106  (c)  ; 

77 ;  48* ; 

91-92 ;  50*  ; 

129  ;  107-108  (g)  ; 

155;  119  (k),  151*; 

209  ;  76  (a) ; 

212  ;  67  (e)  ; 

212-213 ;  108 ; 

217  ;  108 ; 

229 ;  109* ; 

23(5 ;  17  ; 

237  ;  165  (a)  ; 

240  ;  110  (b)  ; 

241 ;  111  ( j)  : 

241-242  ,  110*  ; 

242  ;  123  (c)  ; 

245  ;  146  (a)  ; 

273;  105  (j): 

276;  30  (10,  45  (h)  ; 

290;  xxiiif. 

"Music." 
Messrs.  G.  Sell  and  Sons,  Ltd. 

212;  161  (c),   161  J. 

BEBTENSIIAW,  T.  H.,  B.A.,  B.Mus. 
"  Rhythm,  Analysis  and  Musical  Form.' 

Messrs.  Longmans,  Green  and  Co. 
355  §   925;  56 1  ; 

35(5,  Kig.435  et  seq.       49  (g)  : 
360  §  938  :  xxxivf  ; 


360,  footnote ; 

366  §  956; 

367  §  960; 
373-74  §  978 ; 


36t; 

43f; 

11  (d),  14f  ; 

58  (a),  58*,  58§. 


FISHER,  HENRY,  Mrs. Doc. 

"  The  Musical  Examinee." 
Messrs.  J.  Curwen  and  Sons,  Ltd. 

141  §  719;  115  (c)  ; 

142  §  749  ;  115  (c)  ; 
§§  750-51;               117  (f) ; 

143  §  755;  35*; 
§  774;  57f; 
§  776 ;  58f  ; 
§  777;  141; 

144  §  779;  142; 

§   784;  149     (a),  150*,  151 

§  791:  (Table),  153  (ii,  b)  ; 

§   794;  124; 

60; 

"The  Pianist's  Mentor." 
Messrs.  J.  Cruwen  and  Sons,  Ltd. 

116  §   128;  42*; 

185,  par.  i ;  152. 

GOETSCHIUS,  PERCY,  Mus.Doc.,  ETC. 

"  The    Homophonic    Forms    of    Musical 

Composition." 
G.  Schirmer(Inc.J,  New  York. 


95-96 
99; 
99-100 
138; 
181  § 
202  § 

§  58; 

99  &  99  (a)  ; 

106  (e)  ; 

10  (c)  ; 
41  (b); 
157  (g)  ; 
37  f,  104  (g); 
130  (ch- 
lOS  (a). 

MOZART'S   PIANOFORTE   SONATAS. 


"  Lessons  in  Music  Form." 
Oliver  Ditson  Co.,  Boston,  Mass. 

47;  42  (b); 

95;  145*; 

103 ;  23f  ; 

105 ;  xix ; 

108 ;  108-109  (a) ; 

109;  36§: 

110  ;  144  (b)  ; 

123 ;  82  (e)  ; 

138  ;  58  (a) ; 

139 ;  143  (c) ; 

140;  18*,  44*; 

141;  146  (a). 

AM?.—  On  page  108,  ( ride  right-hand  col- 
umn), rearrange  last  two  lines  to  read 
thus:  "Mor«  nearly  allied  to  that  of 
the  ordinary  rondo-form  than  to  that 
of  the  song-form  with  two  trios.  The 
former"  etc. 

GOODRICH,  A.  J. 

"Complete  Musical  Analysis." 
The  John  Church  Co.,  Cincinnati. 

203 ;  127  ; 

224;  22  (a),  22f,  23  (b). 

GROVE,  SIR  GEORGE. 
"Dictionary  of  Music   and  Musicians." 

Messrs,  Macmillan  and  Co.,  Ltd. 
Article,  "  Form,"  Sir  Hubert  Parry. 
Vol.  II,  p.  80;  87f; 

Article,  "  Minuet,"   Professor  E.  Prout. 
Vol.  Ill,  p.  214;        xxiiij; 
Article,  "  Pasticcio,"  W.  S.  Rockstro. 
Vol.  Ill,  p.  650 ;         155-156  (a) ; 
Article,    "Rondo,"    Frederick  Corder. 
Vol.  IV,  p.  136  ;         131  (a) ; 
Article,  "  Sonata,"  Sir  Hubert  Parry. 
Vol.  IV,  p.  521;         v; 
Article,  "Variations,"  Sir  Hubert  Parry. 
Vol.  V,  pp.  225-26  ;     xxviii-ix ; 

226-27-30 ;  xxix-xxx  ; 

230 ;  xxx. 

HADOW,  SIR  W.  H.,  M.A.,  D.Mts.,  ETC. 

"  Sonata  Form." 
Ifessrs.  Novello  and  Co.,  Ltd. 


10  §  18; 

48  §  57; 

49  §  59; 

50  §  61; 
52  §  62; 


59  §  68; 

127; 

73  §  81; 

28  (f); 

74  §  81; 

69  "f  ; 

77  §  83  (f  )  ; 

48f; 

80  §  84; 

3(g); 

81  §  85-85  (a)  ; 

148; 

81  §  85  (a)  ; 

146  (a) 

82  §  86; 

3(g); 

102  §  100; 

53§; 

104  §  102  (b)  , 

xxxviii 

104  footnote; 

148; 

112  §  112; 

76*; 

115  §  115; 

431; 

161   §  135: 

221. 

HARDING,  H.  A.,  Mus.Doc.  OXON. 
"  Analysis  of  Form,  as  Displayed  in  Beet- 
hoven's Pianoforte  Sonatas." 
Messrs.  Novello  and  Co.,  Ltd. 
Sonata  Op.  31,  No.  2,  34;        152,  152*. 

JAHN,  OTTO. 
"Life  of  Mozart."     (Translation  by  P. 

Townsend.) 

Messrs.  Novello  and  Co.,  Ltd. 
Vol.  IT,  p.  447  &  footnote  17  ;  114  (a)  ; 
449  ;  98* ; 

449-50;  100-101  (a). 

JVOECHKT.,   DR.   LlTDWIG   RlTTER  VON. 

"  Chroiiologisch-thematisches  Verzeichnis 
samtlicher  Tonwerke  W.  A.  Mozart's." 
K.  Nos. 


284; 
309; 

309,  310,  311 ; 
330,331,332; 
333; 
457; 

533  &  -194  : 

Appendix  EFI,  No.  135  ; 
136; 


xvii ; 

81: 

2  (c),34(a); 

84f; 

xxxi ; 


33*: 

40»  (i).  41  (a)  : 

40*  (ii)  ; 

63*: 

88*; 
105  (a) ; 
114  (a) ; 
155  (a) : 
24  (a),  24*,  155-6 

(a),  163  (a). 

Page  63*.  In  this  footnote  move  forward  the  words 
"  in  1779  "  so  as  to  replace  the  words  "  in  that  year." 

Page  88*.  In  this  footnotetransposethe  words  "in 
Vienna  "  so  as  to  follow  the  word  "  appeared." 

On  page  114,  read  K.  494  instead  of  K.  485. 

MACFARRE.N,  SIR  G.  A.,  Mrs. Doc. 
"On  the  Structure  of  a  Sonata." 
Messrs.  Endall,  Carte  and  Co.,  Ltd. 
page  12;  xxxiv. 


BIBLIOGRAPHY. 


MACPHERSON,  STEWART,  F.R.A.M. 

198  §  356  ;                     81*  • 

"  Form  in  Music." 

199  §  356  ;                      82  (e)  • 

Messrs.  Joseph  Williams,  Ltd. 

213  §  390;                      53*    93*  ; 

16-17*  ;               137*  • 

226        411;                      xxxviif;' 

39  ;                       140  (a)  ; 
81*  :                    xxxv  (h)  ; 
87-88;                 37  (a)- 

230  §   417                       150  (e)  ; 
230-31  §§  417-18         148- 
248  §   461;                       22  '(a); 

92f;                   xxiVr 
*  93  ;                       66*  ; 

RICHTER,  ERNST  FRIEDRICH. 

128;                       34  (a),  68*; 

"Die      Grundzuge     der     Musikalischen 

136;                        107  /f); 

Formen." 

150  ;                        xxxiii*. 

2g  '                      H5  (c)  ; 

PRENTICE,  RIDLEY. 

29  ;                       115*  : 

30-31  ;                  117  (e)  • 

"The  Musician." 

36;                       115*. 

Messrs.  J.  Curwen  and  Sons,  Ltd. 
Grade  II.     45  ;             132  (e)  ; 

80  ;              28f  ; 

SHEDLOCK,  J.  S.,  B.A. 
"The  Pianoforte  Sonata." 

81  ;              32f  ; 

Messrs.  Methuen  and  Co.,  Ltd. 

88;             67  (c),  68f  • 
Grade  III.     58;             76  f  • 
79  ;              58*  ;' 

123-24-25  ;          105  (a)  ; 
125;           98*. 

Grade  IV.     14  ;               96*  ; 

Grade    V.     37  ;            112  (1)  ; 

43;            126  (a  &b),  126t. 

MUSIC. 

PROUT,  E.,  B.A. 

"The    Academic    Series    of    Classical 

"Harmony."     Messrs.   Augener,   Ltd. 
124  §  2Q5  •          ^Q*  • 

Music    for    the    Pianoforte,"    edited    by 
Messrs.  G.  A.  Holmes  and  F.  J.  Kara. 

J--  rf-f:      >f      ^c/tJ  y                      Ot/        , 

252  §  552  ;          90*  ; 

Messrs.   Weekes  and  Co. 

289  §  620;        157  (b). 

Easy  Sonata  in  C  major  (No.  89  in  this 

"  Musical  Form."  Messrs.  Augener,  Ltd 

series),  pages  127-28  (f),  129  (b). 

118  §  258;        18(d),42(b); 
174   §  333;           7**; 
177  §  333  ;        11  (d)  ; 
177  §  334;        10  (c). 

"  Sonatas  for  the  Pianoforte."     W   A 
Mozart,   edited  by  FranHin  Taylor.  1 
Messrs.  Augener,  Ltd. 

"  Applied  Forms."  Messrs.  Augener,  Ltd. 
96  §  153:                     38*- 

Sonata  XI;                   page  75f,  75  1  ; 
Sonata  XVII;                  „     133*. 

122-23  §  §  207-08  ;       131  (c)  ; 

"  Sonatas  for  the  Pianoforte."     W.  A 

143  §  244;                      48*- 

Mozart,  edited  by  S.  Lebert.    Gotta  Ed. 

145  §  250  ;                    135  (d)  ; 
190  §  335;                    xxxiv; 

Sonata  I  ;                      page  127  ; 
Sonata  III;                       ,,       64  (c). 

1    Copyright  of  Notes  with  Editor). 


NOTE  TO  THE  READER. 

In  numbering  the  bars  : 

(i)  It  is  the  -first  whole  bar  in  a  movement  which  is  numbered  No.  /, 
even  where  this  is  preceded  by  a  small  portion  of  a  bar.  This  is  in  ac- 
cordance with  the  fact  that,  as  regards  "  rhythm,"  the  bar  which  contains 
the  -first  strong  accent  (i.e.,  the  first  whole  bar)  is  always  accounted  the 
-first  bar  of  the  phrase* 

(ii)  In  passages  marked  to  be  repeated  thus  : 


i. 


the  bar  containing  the  second,  and  modified,  ending  is  numbered  with  the 
same  numeral  as  the  last  bar  of  the  first  ending,  a  small  superscript  a 
being  attached  as  a  means  of  distinction,  thus  : 


I.  |  2. 

8  :||  8" 


(iii)  The  "  index  "  figure  affixed  to  the  larger  one  which  indicates  the 
number  of  a  bar — e.g.,  41 — denotes  the  particular  beat  to  which  reference 
is  made.  Should  even  more  exact  reference  be  required,  the  following 
symbol  is  employed,  thus  :  y2  =  the  latter  portion  of  the  second  beat  in 
bar  3. 

(iv)  The  "Comparative  Table"  of  various  editions  of  Mozart's  Piano- 
forte Sonatas  is  placed  at  the  commencement  of  the  book,  page  13,  instead 
cf  as  an  Appendix.  See  footnote  *,  page  41. 

*^The  reader  should  bear  in  mind,  however,  that  the  method  of  numbering  the 
bars  differs  with  different  writers.  This  will  account  for  occasional  apparent  dis- 
crepancies. 

xii 


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TABLE    OF    CONTENTS. 


Preface                ...         ...         ...         ...         ...         ...         ...         ...  v 

Bibliography      ...         ...         ...         ...         ...         ...         ...         ...  ix 

Note  to  the  Reader     ...         ...         ...         ...         ...         ...         ...  xii 

Comparative  Table  of  various  Editions  of  Mozart's  Pianoforte 

Sonatas,  giving  their  respective  Modes  of  Numbering         ...  xiii 

Table  of  Contents       ...         ...         ...         ...         ...         ...         ...  xv 

Introductory   Chapter              ...         ...         ...         ...         ...          ...  xvii 

Sonata  No.     I  in  C  major  (K.  279)           ...         ...         ...         ...  i 

„        No.     2  in  F  major  (K.  280)           ...         ...         ...         ...  7 

„        No.     3  in  B  flat  major  (K.  281)               14 

„        No.     4  in  E  flat  major  (K.  282)              21 

„        No.     5  in  G  major  (K.  283)          ...         ...         ...         ...  27 

„        No.     6  in  D  major  (K,  284)           33 

„       No.     7  in  C  major  (K.  309)           ...         ...         ...         ...  40 

„        No.     8  in  A  minor  (K.  310)           ...         ...         ...         ...  46 

„        No.     9  in  D  major  (K.  311) ...  55 

No.   10  in  C  major  (K.  330)           63 

No.   ii   in  A  majorv{K,  331)           70 

„        No.   12  in  F  major  (K.  332)           ...         ...         ...         ...  78 

No.   13  in  B  flat  major  (K.  333)               88 

Fantasia    in  C    minor  (K.  475)  and  Sonata  No.   14  in    C  minor 

(K.  457)^)...  98 

Sonata  No.   15  in  F  major  (K.  533  and  494)       ...         ...         ...  113 

„        No.   16  in  C  major  (K.   545)           ...         ...         ...         ...  125 

„        No.   17  in  B  flat  major  (K.  570)               ...         ...         ...  133 

„       No.   1 8  in  D  major  (K.  576)          ...         ...         ...         ...  139 

„        No.   19  in  F  major  (K.,  Appendix  III,  No.  135)           ...  154 

,,       No.  20  in  B  flat  major  (K.,  Appendix  III,  No.  136)    ...  159 


ERRATA. 

Page  25  (g).     Omit  the  words  "  modulating  to  the  dominant." 

Page  92  (k).     Bar  52  should  read  bars  81-2-82. 

Page  114.     In  Thematic  Scheme  (c)  F  major  should  read   F  minor. 


INTRODUCTORY  CHAPTER. 

A  SONATA  is  a  work  consisting  of  two,  three,  or  four  movements, 
written  either  as  an  instrumental  solo,  or  as  a  duet.*  Each  movement 
must  be  of  a  character  consistent  with  the  first  one,  and  this  and  the  last 
movement  are  always  in  the  same  key,  though  not  invariably  in  the  same 
mode. 

The  word  sonata  [Italian,  suonare  =  to  sound,  or  to  play  (music)] 
signified  at  first  music  which  was  to  be  played  on  an  instrument  as  dis- 
tinct from  "  cantata "  =  music  which  was  to  be  sung.  Later  on,  how- 
ever, the  use  of  the  term  became  restricted,  being  applied  only  to  works 
which,  like  the  modern  sonata,  consisted  of  several  movements. t  These 
movements  were,  however,  all  short  and  usually  all  in  the  same  key. 

Of  these  early  sonatas  there  were  three  varieties,  viz.,  the  Sonata  da 
Chiesa,  the  Sonata  da  Ballo  and  the  Sonata  da  Camera.  Hadow 
writes  :  + 

il  If  the  movements  were  all  derived  from  the  instrumental  Canzona§  and  its 
variants,  the  work  was  known  as  a  Sonata  da  Chiesa;  if  they  were  all  dance  tunes, 
as  a  Sonata  da  Ballo;  if  they  were  partly  the  one  and  partly  the  other,  as  a  Sonata 
da  Camera.  Then,  in  course  of  time,  the  Sonata  da  Chiesa  began  to  drop  out  of 
use,  and  the  other  two  came  to  be  known  respectively  as  Suites  and  Partitas.  This 
distinction  was  not  always  strictly  maintained;  there  are  many  "Suites"  which 
contain  movements  that  are  not  in  dance  measure  ;  but  so  far  as  it  exists,  it  repre- 
sents that  of  Sonata  da  Ballo  and  Sonata  da  Camera  respectively." 

The  modern  sonata  is  so  called  because  the  ~first  movement  is  usually 
written  in  what  is  known  as  sonata-form.\\  This  form  was  originally  of 
binary  design.  By  degrees,  however,  through  various  stages  of  evolu- 
tionlT  the  design  developed  and  expanded,  the  growth  in  the  middle 


*  Though  virtually  sonatas,  the  term  Sonata  is  never  applied  to  such  works 
when  written  for  more  thaA  two  instruments.  According  to  the  particular  number 
and  combination  of  instruments,  the  work  is  known  as  a  Concerto,  a  Symphony,  Trio, 
Quartet,  etc.  Sonatas  and  all  such  works  are  termed  "  cyclic  works."  Very 
occasionally  we  meet  with  a  sonata  which  contains  five  movements. 

f  The  invention  of  the  sonata  as  a  piece  of  several  movements  is  attributed  to 
Kuhnau  (1660-1722). 

I   "Sonata  Form,"  W.  H.  Hadow. 

§  An  instrumental  piece  written  in  the  style  of  a  madrigal, 

||  For  this  reason,  the  design  is  also  known  as  "  first-movement  form.'* 

H  For  old  sonata  forms,  see  Table  XJT. 

xvii 

it 


MOZART'S  PIANOFORTE  SONATAS. 


portion  of  the  movement  (i.e.,  the  middle  portion  of  the  second  Part) 
being  of  particular  significance.  For,  from  consisting  merely  of  some 
slight  modulatory  passages  following  on,  and  more  or  less  melodically 
connected  with,  the  re-entry  of  the  first  theme  in  the  key  of  the  dominant 
(with  which  the  second  part  of  the  movement  at  that  stage  opened)  the 
passages  grew  and  gradually  became  a  more  and  more  prominent  feature 
in  the  scheme.  So  that  when,  in  addition  to  this,  the  custom  arose  of 
omitting  the  immediately  preceding  entry  of  the  first  theme  in  the  second- 
ary key*  these  passages  in  consequence  gained  still  more  prominence,  and 
in  effect  this  portion  of  the  movement  imperceptibly  acquired  an  indi- 
viduality of  its  own.  Thus  a  middle  section  to  the  movement  was  de- 
veloped, and  sonata-form  was  transformed  from  a  binary,  into  one  of 
ternary,  design. 

In  the  greater  number  of  instances  the  construction  of  a  sonata  is 
based  on  the  following  plan. 

TABLE  I. 


(a) 
(b) 


(c) 


(d) 


THE  SONATA  AS  A  WHOLE. 


The  first  movement  is  an   "  Allegro  "  written  in  sonata-form. 

The  second  is  usually  a  slow  movement,  of  song-like,  expressive  character, 

and  in  a  related  key.f      There  is  great  variety  as  to  the  form  chosen  for  this 

movement,  but  it  is  probably  most  frequently  to  be  met  with  in  one  or  other 

of  the  simple  ternary  forms. 

If  the  sonata  contains  four  movements, \  the  third  is  usually  a  Minuet  (or 

Scherzo)  and  Trio,§  the  Minuet  being  generally  in  the  same  *kev  as  the  first 

and  last  movements.     The  Trio  can  be  either  'in  the  same,  or  "in  a  related, 

key. 

Occasionally  the  positions  of  the  slow  movement  and  the  Minuet  and  Trio 
are  reversed,  the  latter  being  placed  between  the  opening  Allegro  and 
the  slow  movement. 

Whatever  the  number  of  movements,  the  Finale  is  always  in  the  same  key  as 
the  first  movement,  though  occasionally  with  change  of  mode.  It  is  very 
frequently  written  in  one  or  other  of  the 'rondo  forms,  thougji  also  often  to  be 
met  with  in  sonata-form,  and  sometimes  in  others. 


*  The  custom  of  recapitulating  the  first  subject  in  the  key  of  the  tonic  after  the 
modulatory  portion,   and   before  the  re-entry  of   the  second   subject,   had   already 

Such  ™t0  **  ""* 


^r,  6  excePt;°n  of  the  two   sonatas  marked  Nos.  XIX  and  XX  in  this  volume,  which  contain 

movement  plan™'  '  m°vement3'  Mozart>*  Pianoforte   sonatas    are    all   constructed    on    the    three- 


t  J  ^/vnH^™1^  f°rmi"g  \"  MiDUet  and  Tri°'"  these  two  little  movements  often  appear  in  son- 
forie    Sonntn    On    11    M  r  f?*1*1^111/,  ^g"   Sef  the       A11^r^to  and  Ma-giore  "  in  Beethoven's  Piano- 
ata,  Op.  14,  No.  1  ;  and  the  "  Menuetto  and  Minore  "  in  his  Sonata,  Op.  22. 


INTRODUCTORY   CHAPTER.  xix 

The  student  must  bear  in  mind  that  whilst  the  foregoing  Table  gives 
a  general  outline  of  the  most  usual  construction  of  a  sonata,  there  are  yet 
a  very  large  number  of  instances  in  which  the  plan  is  varied.  In  some 
cases,  the  first  movement  is  not  in  sonata-form,  and  in  a  few  instances 
(e.g.,  No.  XI  in  A  major,  in  this  volume)  no  movement  at  all  is  written 
in  the  form.  And  again,  the  variety  of  detail  which  the  genius  of  a  great 
composer  can  conceive  is  infinite,  and  is  manifested  both  in  the  form 
and  contents  of  his  works — from  the  most  important  down  to  the  very 
smallest.  Therefore  in  studying  the  following  Tables,  the  student  must 
also  realise  that  whilst  the  details  set  forth  in  them  have  been  made  as 
complete  as  is  compatible  with  the  scope  of  the  present  work,  they  must 
be  regarded,  in  great  part,  as  typical,  and  in  no  wise  as  exhaustive  or  in- 
variable. 

"The  successive  enlargement  of  the  structural  designs  of  musical  composition  is 
achieved  by  a  process  of  natural  growth  and  progressive  evolution.  No  single  form 
intrudes  itself  in  an  arbitrary  or  haphazard  manner  ;  each  design  emerges  naturally 
and  inevitably  out  of  the  preceding,  in  response  to  the  necessity  of  expansion,  and 
conformably  with  the  same  constant  laws  of  unity  and  variety — the  active  agents, 
along  the  entire  unbroken  line  of  continuous  evolution,  being  reproduction  (Unity) 
and  legitimate  modification  (Variety) ;  or,  in  other  words,  modified  repetition."* 

The  following  points  should  be  noted  : 

(i)  That  the  inherent  power  of  expansion  which  is  so  notable  a  char- 
acteristic of  the  ternary  design,  renders  it  especially  adaptable  to  an 
infinite  variety  of  compositions  of  widely  differing  dimensions,  descrip^ 
tion,  and  character.  On  this  account,  therefore,  it  is  convenient  to  sub- 
divide the  earlier  of  its  two  important  sections  (the  simple  ternary)  into 
three  broadly  defined  stages,  and  to  classify  these  stages  as  in  the  accom- 
panying table  (see  Table  II). 

(ii)  That  in  arranging  the  order  in  which  the  different  forms  are 
tabulated,  a  break  has  been  made  between  the  two  main  divisions  of  the 
ternary  form  and  there  have  been  interpolated  those  of 

(i)  The  Older-Rondo  form,  and  (ii)  the  Variation-form. 
This  method  has  been  adopted  because,  not  only  are  both  these  forms, 
older  than  that  of  the  developed  ternary,  but  also  because  it  is  essential 
to  associate  the  newer  Rondo — or  Rondo-Sonata — form  with  that  of  the 
developed  ternary  on  which  it  is  partially  founded.  This  arrangement 
would,  of  course,  be  impossible  were  not  the  older  Rondo,  on  which  the 
newer  design  is  also  partially  founded,  already  tabulated. 


"  Lessons  in  Music  Form,"  by  Percy  Goetschius. 


MOZART'S   PIANOFORTE   SONATAS. 
TABLE  II. 


LIST  OF  "  FORMS  "  TO  BE  MET  WITH  IN  MOZART'S 
PIANOFORTE    SONATAS. 


Simple  Binary,  or  Two-Part  Song,  Form. 


The  Simple  Ternary  Forms. 

(i)  Simple  Ternary,   or  Three-Part  Song.  Form, 
(ii)  Minuet  and  Trio  Form, 
(iii)  Episodical  Form,  or  "  Movement  with  one  Episode." 


The  Older  Rondo  (containing  at  least   five  parts). 


Variation-Form. 


Developed  Ternary,  or  Sonata-Form. 

With  which  must  he  associated  its  two  modifications, 
(i)  Modified,  or  Abridged,  Sonata,  and 
(ii)  Rondo-Sonata,    or   Sonata-Rondo,  Forms. 


BINARY  FORM. 

Characteristics. 

(i)  The  two  parts  are  usually  small,  and,  in  the  simpler  examples, 
are,  as  a  rule,  of  the  same,  or  approximately  the  same,  length.* 

(ii)  Part  II  frequently  ends  with  a  repetition  of  the  -final  bars  of 
Part  /,  with  modification  of  key  so  as  to  close  in  the  Tonic,  when  Part  I 
has  modulated  to  a  related  key. 

TABLE  ITT. 


ia)t   BINARY,   OR   TWO-PART   SONG,  FORM.         A  : ;:  B 


A.     Part  I    =   Statement. 

In   a   large    number    of    instances 
Part  I  consists  of  a  single  sentence. 


B.     Part  II    =   Response. 

(d)  Either    wholly    in   the   key    of   the 
tonic,  or,  as  is  more  frequently  the 


case,  starting  in  the  secondary  key 
and  modulating  back  to  the  tonic, 
(b)  It  may  close  with  a  full  cadence  in    j   (e)  In  a  great  many  instances  (more  es- 
the     tonic,     but    more     frequently    \  pecially     in     purely     instrumental 

modulates,    and    ends   with    a    full    i  music)'  Part  II  end's  with  a  repeti- 

cadence  in  a  related  key.     (c)   :|;  tion  of  the  closing  portion  of  Part 

I.     :\\ 


In  the  more  highly  developed  and  elaborate  examples,   however,   Part  II  is 
otten  considerably  longer  than  Part  I. 

^  reference  to  Paragraphs  correspondingly  marked  which  occur  in  the  sub- 


INTRODUCTORY   CHAPTER.  xxi 

(a)  For  old   Sonata   Forms,  which   are   also   of    Binary  design,  see 
Table  XII. 

(b)  When  the  piece  is  in  the  major  mode  the  modulation  (in  old 
music)  is  always  to  the  key  of  the  dominant,  and  when  in  the  minor, 
either  to  that  of  the  relative  major,  or  to  the  dominant  minor. 

(c)  Very  occasionally  the  parts  are  not  marked  to  be  repeated. 

(d)  It  is  exceptional  to  meet  with  cases,  even  in  the  simplest  examples 
of  this  form,  which  contain  no  modulation  at  all.     If  Part  I  has  modu- 
lated, then  Part  II  may  be  wholly  in  the  key  of  the  tonic.     But  when 
Part  I  is  wholly  in  the  key  of  the  tonic,  there  will  usually  be  some  modu- 
lation at  the  commencement  of  Part  II.     Notable  exceptions  to  the  above 
are,  however,  to  be  found  in  the  Menuetto  from  Beethoven's  Sonata  in 
E  flat,  Op.  31,  No.  3,  and  in  the  Air  and  Variations  which  form  the  slow 
movement  of  his  Sonata  in  F  minor,  Op.  57,  the  "  Appassionata." 

(e)  The    amount   repeated    varies.     It   may    consist    merely    of   the 
cndence  bars,  or  it  may  extend  to  a  repetition  of  the  whole  of  the  final 
phrase :    occasionally  it  includes  even  more  than  the  final  phrase. 

TERNARY  FORM. 
Characteristic. 

Whereas  in  binary  form,  whenever  any  return  to  Part  I  occurs  at  the 
end  of  the  movement,  it  is  always  a  return  to  its  closing  bars,  in  ternary 
form  there  is  (i)  always  a  return  to  Part  I  at,  or  towards,  the  close  of  the 
movement,  and  (ii)  this  return  is  invariably  to  the  opening  bars. 

This  is  the  essential  feature  of  any  species  of  three-part  design  from 
the  simple  melody  consisting  of  merely  three  phrases,  to  the  most  ex- 
tended, and  elaborate  examples  of  developed  ternary  form.*  Excepting 
in  the  case  of  "  Minuet  and  Trio  "  form,  so  long  as  the  return  to  the  open- 
ing bars  is  unmistakable,  there  is  absolutely  no  rule  as  to  the  amount  of 
Part  I  which  must  be  reproduced  in  Part  III.  It  may  be  merely  a  bar  or 
two,  or  it  may  include  the  whole  of  Part  I.  In  "  Minuet  and  Trio  "  form, 
however,  the  whole  of  Part  I  (=  the  Minuet)  is  invariably  repeated. 
There  are  many  other  instances  in  the  various  species  of  ternary  form  in 
which  the  latter  practice  is  followed,  but  in  these  certain  modifications, 
particularly  of  key,  are  frequently  necessary.  The  extent  of  these  modi- 
fications varies,  but  is  often  very  considerable. 

*  A  certain  number  of  movements  in  sonata-form  (developed  ternary)  are  to  be 
met  with  in  which,  for  one  reason  or  another,  the  composer  has  omitted  the  whole 
of  the  first  subject  in  the  recapitulation.  These  instances  must,  however,  be  looked 
upon  as  exceptions.  See  explanatory  text  to  Table  VIII,  §  (gj,  paragraph  ii,  and 
footnote  f . 


XX11 


MOZART'S   PIANOFORTE   SONATAS. 
TABLE  IV. 


SIMPLE  TERNARY, 

OR  THREE-PART  SONG, 

FORM    A  :  :  B  A**:!', 

A.     Part  I  =  Assertion. 

B.     Part  II  =  Digression. 

A3.     Part  HI   =  Re-asser- 
tion. 

(a)f  Sentence  of  eight  or 
more  bars,  usually 
modulating  to,  and 
closing  in,  a  related 
key,  though  sometimes 
closing  with  full  ca- 
dence in  the  tonic,  b:  i 

Passage     of     more     or 
less    divergent    charac- 
ter  usually  with   some 
contrast  in  key.J     This 
passage    is    most    fre- 
quently constructed  so 
as  to  merge  gradually 
into   Part  III. 

Repetition  of  the  open- 
ing  theme   entirely   in 
the   key   of    the   tonic, 
the    latter    portion    (if 
it      originally      modu- 
lated)      being      trans- 
posed  into  this   key. 
(c)  Subject     (when     neces- 

Sometimes,      however, 

sary)     to     the     above 

it  ends  definitely  on  a 

modification     of     key, 

cadence,  or  with  a  ca- 

Part III  may  be  prac- 

dence   followed     by    a 

tically     an     exact    re- 

connecting   link    lead- 

petition    of     Part    "I. 

ing  into  Part  III. 

Far   more    frequently, 

however,     the     princi- 

pal    theme      recurs 

varied  to  a  greater  or 

lesser   extent. 

(d)  Coda  optional. 

(a)  With  the  earlier  composers,  when  the  movement  was  in  the  major 
mode  modulation  at  this  point  was  usually  to  the  key  of  the  dominant 
major;  and  when  the  movement  was  in  the  minor  mode  to  either  that  of 
the  dominant  minor,  or  the  relative  major.     Beethoven  and  subsequent 
composers  very   frequently   follow  the   above  traditional   methods.      At 
other  times,  however,  they  allow  themselves  more  latitude  and  make  their 
modulation  at  this  point  into  one  of  the  other  nearly  related  keys.     Seq, 
lor  example,  the  "Allegro"  (=  the  Minuet)  in  Beethoven's  String-  Quar- 
tet, Op.  1 8,  No.  3,  the  "  Trio"  in  Schubert's  first  pianoforte  Sonata,  Op.  42, 
and  the  "  Menuetto "  in  his  pianoforte  Sonata,  Op.    1 22,  and  Brahms' s 

'Waltzes,  Nos.  I,  6,  14  and  15. 

(b)  A  large  proportion  of  the  smaller  movements  in  this  form  are 


*  The  superscript  figures  2,  3  and  4,  signify  respectively  the  second,  third  and  fourth  entry  of  a 
particular  passage  or  theme. 

t  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked  which  occur  in  the  sub- 
sequent text. 

J  For  a  very  interesting  and  unusual  example  of  this  form,  see  the  Scherzo  in  A  major  in  Beet- 
hoven's pianoforte  Sonata  in  the  same  key,  Op.  2,  No.  2.  In  this  little  movement  Part  II,  after  com- 
mencing with  slight  "  development  "  of  the  opening  figure  of  Part  I,  continues  with  an  entirely  new 
theme  (Episode)  written  in  the  remote  key  of  G  sharp  minor. 


INTRODUCTORY   CHAPTER.  XXlll 

written  on  the  plan  of  the  old  Minuet  and  other  early  dance  forms,  in 
which  each  part  was  almost  invariably  marked  to  be  repeated.  In  these 
cases  the  repetition  is,  as  a  rule,  indicated  by  the  two  sets  of  double-bars 
with  "  repeat "  marks,  one  at  the  close  of  Part  I,  and  the  second  at  the  close 
of  the  movement.*  At  the  same  time,  there  are  a  large  number  of  small 
ternary  movements  in  which  no  such  repetition  takes  place,  each  section  of 
the  movement  being  heard  but  once;  and  in  these  the  double-bar  is  fre- 
quently omitted  at  the  close  of  Part  I.  Moreover,  in  many  compositions, 
especially  in  such  as  are  of  a  lyrical  character  and  of  more  extended 
scope,  a  definite  break  at  the  close  of  Part  I  would  be  altogether  out  of 
harmony  with  the  character  and  style  of  the  music.  Various  devices  are 
employed  in  such  cases  to  soften  and  modify  the  effect  of  finality  in  the 
closing  cadence  of  Part  I.  In  movements  in  which  the  melody  is  sup- 
ported by  an  accompaniment  in  one  or  more  of  the  other  parts,  any  undue 
feeling  of  break  is  often  obviated  by  continuing  the  accompaniment  un- 
interruptedly throughout  the  cadence  bars. 

(c)  The  variation  in  the  opening  theme  on  its  reappearance  in  Part  III 
is  occasionally  very  considerable.  See,  for  example,  the  trio  in  Mozart's 
pianoforte  Sonata  in  A  major.  An  examination  of  this  little  movement 
shows  that  only  the  first  bar  of  Part  I  actually  recurs  unaltered  in  Part 
III.  Again  the  latter  is  often  lengthened  by  means  of  cadential  repeti- 
tions or  by  a  coda.  Occasionally,  though  less  frequently,  it  is  shorter  than 
Part  I. 

MINUET  AND  TRIO  FORM. 

This  name  is  ,a  convenient,  because  a  self-explanatory,  term  implying, 
as  it  does,  a  composition  based  on  the  plan  of  the  old  minuet  and  trio.  In 
old  music  a  first  minuet  (A)  was  almost  always  followed  by  a  second 
independent  little  movement  in  contrast  to  it,  called  a  triot  (B),  after 
which  the  first  minuet  was  repeated*  (A2).  The  design,  therefore,  is  an 
extension  of  the  previously  explained  simple  ternary  form,  each  of  its 
primary  divisions,  A,  B,  A2,  itself  consisting  of  a  complete  little  move- 


*  When  either  part  is  to  be  varied  on  repetition  it  is,  of  course,  written  out  the 
second  time  in  full." 

f  The  Trio  is  so  called  because,  for  the  sake  of  further  contrast,  early  composers 
frequently  wrote  the  second  movement  for  three  instruments.  According  to  Banis- 
ter,  the  first  Minuet  was  originally  written  for  two  instruments  only. 

|  Professor  Prout  states  that  "  though  it  was  always  understood  that  the  first 
Minuet  was  to  be  repeated  after  the  second,  in  Bach's  time  it  is  very  rare  to  find  the 
direction  expressly  given." 


XXIV 


MOZART'S   PIANOFORTE   SONATAS. 


ment.     In  the  majority  of  cases  both  minuet  and  trio  are  in  simple  ternary 
form. 

A  very  large  number  of  dances  and  movements  in  dance  form,  as 
well  as  the  minuet  and  trio,  are  constructed  on  this  same  plan.  Stewart 
Macpherson  explains  that  at  one  time  the  use  of  the  above  design  was  so 
practically  universal  for  opera  arias  that  the  latter  became  known  as 
"  Da  Capo  Arias,"  composers  very  rarely  taking  the  unnecessary  trouble 
of  writing  out  the  first  section  a  second  time,  but  merely  adding  the  words 
Da  Capo  at  the  end  of  the  second  section.* 

TABLE  V. 


MINUET  AND  TRIO  FORM. 


PART   I.     ASSERTION. 
A.  Minuet. 

f(a-)  Usually     in     Ternary 


form. 


A:  11:  B  A2 


PART   II.     CONTRAST.       I  PART    III.      RE-ASSERTION. 


B.  Trio. 

Second  little  move-; 
ment,  in  contrast  toj 
the  first,  generally  also! 
in  Ternary  form,  and, 
most  frequently  in  a ! 
different  key. 
(b)  Occasionally  the  Trio! 
is  followed  by,  or| 
merges  into,  a  con- 
necting passage  lead-  I 
ing  to  the  repetition! 
of  the  Minuet. 


A2.  Repetition  of  Minuet. 
Often  indicated  by  the 
words — 

(c)   "Minuet  Da  Capo." 
The    whole    movement 
is     frequently    length- 
ened   by    the    addition 
of  a  Coda. 


(a)  Although,  in  old  music,  minuets  were  sometimes  written  in  binary 
form,  they  were,  as  stated  above,  usually  constructed  on  the  ternary  plan, 
and,  in  modern  works,  it  is  very  rare  to  meet  with  one  in  that  form. 

(b)  See  e.g.,  the  Trios  in  Schubert's  Pianoforte  Sonatas,  Op.  53  and 
147;  and  the  "Piu  lento"  (the  Trio)  in  Chopin's  Pianoforte  Sonata,  Op. 
35- 

(c)  It    is   understood  that  the  "Da  Capo"  minuet  is  to    be    played 
straight  through  once,  and  that  no  notice  is  to  be  taken  of  the  "repeat 
marks."     Occasionally  we  meet  with  a  movement  in  which  the  minuet  is 
more  or  less  varied  on  its  return  after  the  trio.     In  such  cases  the  minuet 
is,  of  course,  written  out  the  second  time  in  full. 


"  Form  in  Music,"   by  Stewart  Macpherson. 
t  Those  index-letters  bear  reference  to  paragraphs  correspondingly  marked  which  occur  in  the  sub- 


INTRODUCTORY   CHAPTER.  XXV 

EPISODICAL  FORM. 

The  chief  characteristics  of  this  form  as  distinguished  from  the 
earlier  minuet  and  trio  form  out  of  which  it  so  naturally  grew  lie : 

(i)  In  the  gradual  merging  of  the  principal  Parts  one  into  the  other, 
caused  by  avoiding  the  use  of  the  emphatic  cadences  which  are  a  char- 
acteristic of  the  earlier  form.  This  is  more  particularly  noticeable  in 
that  portion  of  the  movement  in  which  Part  II  approaches  Part  III,  the 
effect  of  the  device  being  manifestly  twofold.  For  whilst  it  promotes 
continuity  in  the  movement  as  a  whole,  it  naturally  also  affects  the  outline, 
or  plan  of  the  individual  Parts.  These,  more  particularly  the  episode,  are, 
in  consequence,  less  stereotyped  and  formal  in  design  than  are  the  corres- 
ponding sections  of  the  less  developed  type. 

(ii)  In  the  frequent  ornamentation,  or  other  variation,  of  the  principal 
theme  on  its  recurrence  in  Part  III. 

Many  works  of  important  length  are  written  in  this  form.  In  these 
the  different  sections  often  assume  notable  proportions. 

TABLE  VI. 


EPISODICAL  FORM  OR  "MOVEMENT  WITH  ONE   EPISODE." 

PART  I. 

PART  II. 

PART  III. 

A.     Principal      Theme     in 

B.     (a)  Episode. 

A3.     Eepetition     of    Prin- 

the Tonic. 

cipal  Theme. 

Always      complete      in 

New     theme     in     new 

The  repetition  may  be 

itself 

key,     in     contrast     to 

complete     or     partial, 

Rarely     less     than     a 

Part  I.    Not  restricted 

and    the     Theme    fre- 

Binary,   and    fre- 

as  to   form,    and   as   a 

quently  reappears  with 

quently      in      Ternary 

rule     merging     into    a 

ornamentation,          o  r 

form. 

link  or  connecting  pas- 

modification   of    some 

sage    leading    to    Part 

sort. 

III. 

Coda,    usually. 

Very    occasionally    the 

Episode   closes   with    a 

perfect  cadence   in  its 

own   key,    followed    by 

the      connecting     pas- 

sage. 

(a)  An  episode  is  an  entirely  new  theme — contrasting  with  the  princi- 
pal theme,  both  in  character  and  key — which  is  heard  once,  and  once  only, 
during  the  course  of  a  movement,  or  piece. 

i  c 


XXVI 


MOZART'S  PIANOFORTE  SONATAS. 


SIMPLE,  OR  OLDER,  RONDO  FORM. 

Characteristics. 

In  this  form  there  must  be  at  least  three  entries  of  the  principal  sub- 
ject, or  theme,  with  two  intervening  contrasting  episodes.* 

In  many  of  the  early  rondos  of  this  type,  however,  the  principal  ele- 
ment of  contrast  consisted  in  the  difference  of  key.  Gradually,  however,  it 
became  customary  to  introduce  between  the  various  entries  of  the  principal 
theme  really  new  themes,  contrasting  with  the  former  in  style  as  well  as  in 
key. 

TABLE  VII. 


OLDER,  OR  SIMPLE,  RONDO  FORM.f 


Part  i 


Part  ii 


Part  iii 
Part  iv 
Part  v 


A.  Principal  Theme,  or  Sub- 
ject, in  Tonic. 

B.  Episode  I. 


AS.  Principal  Theme,  or  Sub- 
ject, in  Tonic  (second  en- 
try. 

C.  Episode  II,  sometimes 
called  the  "Long  Epi- 
sode." 

A3.  Principal  Theme,  or  Sub- 
ject, in  Tonic  (third  en- 
try). 

Coda. 


Very  rarely  smaller  than  a  Binary,  \ 
and  sometimes  in  complete  Ternary, 
form. 

Contrasting  theme  of  secondary  im- 
portance, in  related  key.  Generally 
rather  short.  Sometimes  in  complete 
Binary,  or  Ternary,  form,  ending 
with  a  full  cadence  in  its  own  key. 
Frequently,  however,  the  Episode 
ends  on  a  half -cadence,  or  with  a  link, 
or  connecting  passage,  so  as  to  lead 
back  more  smoothly  to  the  Principal 
Theme. 

Complete  or  incomplete,  and  fre- 
quently varied. 

Second  contrasting  theme  in  another 
related  key.  As  a  rule,  of  greater 
length  than  Episode  I. 
Complete,  or  incomplete,  often  with 
some  further  fresh  variation  of  the 
theme. 

Often  added.  Sometimes  the  last  en- 
try of  the  Principal  Theme  is  cur- 
tailed and  made  to  merge  into  the 
Coda. 


*  Though  usually  restricted  to  two  (or  sometimes  three)  episodes,  there  is  no 
limitation  beyond  the  above  rule,  as  to  the  possible  number  of  episodes  permissible  in 
a  Rondo  of  this  type.  Each  of  them  must,  however,  be  followed  by  a  fresh  re-entry  of 
the  principal  theme.  Some  of  the  very  early  Rondos  contain  several  episodes. 

t  The  plan  given  in  this  Table  is  that  of  the  Rondo  as  it  was  developed  in  the  time  of  Haydn  and 
Mozart. 

J  See,  however,  the  Rondo  forming  the  finale  to  Mozart's  Pianoforte  Sonata  No.  16,  in  0  major. 


INTRODUCTORY   CHAPTER.  XXVll 

(a)  Episodes   not   infrequently   contain  references   to   the  principal 
theme,  and  the  later  episodes  may  contain  references  to  matter  which  has 
already  occurred  in  the  earlier  ones.     Occasionally,  though  very  rarely, 
an  episode  is  to  be  met  with  in  a  different  time  to  the  remainder  of  the 
movement 

(b)  The  principal  theme  is  frequently  varied  at  each  recurrence,  and, 
in  order  to  prevent  any  monotony  which  might  ensue  from  its  constant 
repetition,  the  re-entry  is  often  only  partial.     This  is  especially  the  case 
in  movements  in  which  the  principal  theme  is  a  long  one.   Another  device, 
aiming  at  variety,  is  to  introduce  it  in  different  keys.     This  method  was 
often  adopted  by  C.  P.  E.  Bach,  but  is  rarely  to  be  met  with  in  rondos  of 
this  type  in  the  works  of  modern  composers. 

(c)  The  episodes  in  a  rondo  are  always  in  different  keys  to  each  other, 
and,  as  a  rule,  the  second  one  is  in  stronger  contrast  to  the  principal 
theme  than  is  the  first. 

Mozart's  pianoforte  Rondo  in  A  minor  is  one  of  the  finest  rondos  of 
this  type  that  has  ever  been  written ;  and  another  is  the  finale  to  Beethoven's 
Waldstein  Sonata,  Op.  53. 

THE    VARIATION-FORM. 

In  this  form,  the  melody,  usually  a  short  and  simple  theme  is  repro- 
duced a  varying  number  of  times  with  some  fresh  ornamentation,  or  modi- 
fication, of  the  theme  at  each  succeeding  repetition.  Many  devices  are 
employed,  sometimes  singly,  and  sometimes  in  combination,  by  which 
these  variations  are  effected.  The  principal  of  these  are : 

(i)  (a)  The  ornamentation  of  the  melody  by  the  use  of  passing,  and 
other  auxiliary  notes,  turns,  shakes,  arpeggios,  runs,  etc.,  or  (b)  the  melody 
may  be  more  or  less  radically  altered,  whilst  the  original  harmony  is 
retained. 

(ii)  The  harmonisation  is  varied,  the  original  melody  remaining  prac- 
tically the  same. 

(iii)  Change  of  mode  (with  very  occasionally  a  change  of  key  also). 

(iv)  Alteration  of  the  " time "  or  " tempo''  or  of  both  together,  where- 
by the  character  of  the  original  theme  is  entirely  changed,  even  where  the 
theme  itself  is  more  or  less  retained.  In  such  variations  the  theme  some- 
times takes  the  form  of  a  minuet,  waltz,  polonaise,  fuga  (see  §  v),  etc.* 

*  See,  for  example,  Beethoven's  Thirty-three  Variations  on  a  Waltz  by  Diabelli 
(Op.  120).  In  this  set,  amongst  other  variations,  we  find  a  March,  a  Fughetta,  a 
Fuga  and  a  Minuet;  and  in  the  same  composer's  set  of  Six  Variations  (Op.  34),  we 
find  both  a  Minuet  and  a  March. 


xxviii  MOZART'S   PIANOFORTE   SONATAS. 


Moreover,  there  is  a  further  and  more  profoundly  conceived  type  of  varia- 
tion in  which  the  original  musical  thought  itself  is,  as  it  were,  transformed 
and  brought  forward  in  an  entirely  new  light.  In  such  cases  the  connec- 
tion between  the  original  theme  and  the  variation  is  often  only  to  be 
traced  through  the  fact  that  the  original  rhythm— i.e.,  the  length  of  phrase 
and  sentence — is  similar,  or  else  merely  that  the  general  harmonic  basis 
has  been  adhered  to. 

(v)  Contrapuntal  treatment,  either  by  canonic  imitation,  or  by  work- 
ing the  theme  as  a  fughetta  or  fugue.  The  latter  device  is  often  em- 
ployed for  the  fina.1  variation  which  is,  as  a  rule,  lengthened,  often  very 
considerably,  and  forms  a  coda.  This  variation  whether  written 
ab  a  fugue  or  otherwise  is  often  merely  based  on  the  theme,  and 
is  quite  free  as  to  its  construction.  At  other  times  the  final  section  com- 
mences with  a  fresh  variation  of  the  theme  followed,  and  extended,  by  the 
real  coda  which  frequently  contains  still  further  fresh  variations  of 
phrases  or  figures  from  the  theme. 

In  many  of  his  sets  Mozart  changes  the  time  of  his  final  variation  as 
well  as  increasing  the  tempo.*  In  several  of  these,  however,  just  at  the 
very  end  of  the  movement,  he  reverts  for  a  few  bars  to  the  original  time 
and  tempo,  giving  us,  as  it  were,  a  reminiscence  of  the  opening  theme. 
This  method  is  frequently  adopted  by  other  composers,  the  whole  of  the 
original  theme  being  sometimes  heard  at  the  close  of  the  -movement. 

Of  Mozart's  methods  of  writing  variations  Sir  Hubert  Parry  writes  :  t 

"  A  certain  similarity  in  the  general  plan  of  several  of  the  independent  sets 
suggests  that  he  had  a  regular  scheme  for  laying  out  the  succession  of  variations. 
The  earlier  ones  generally  have  the  tune  of  the  theme  very  prominent ;  then  come  one 
01  two  based  rather  more  upon  the  harmonic  framework,  so  as  to  prevent  the  recur- 
rence becoming  wearisome ;  about  two-thirds  of  the  way  through,  if  the  theme  be  in 
the  major,  there  will  be  a  minor  variation,  and  vice  versa  ;  then,  in  order  to  give 
weight  to  the  conclusion  and  throw  it  into  relief,  the  last  variation  but  one  has  a 
codetta  of  some  sort,  or  an  unbarred  cadenza,  or  else  there  is  an  unbarred  cadenza 
dividing  the  last  variation  from  the  final  coda,  which  usually  takes  up  clearly  tho 
features  of  the  theme." 

And  later,  when  referring  to  the  last  movement  of  Mozart's  Piano- 
forte Sonata  No.  VI,  in  D  major,  and  comparing  the  "sets  of  variations" 


*  See,  for  example,  the  Finale  of  Sonata  VI,  in  D  major,  and  the  first  move- 
ment of  Sonata  XI,  in  A  major. 

f  The  various  quotations  in  this  section  are  taken  from  the  article     "  Varia- 
tions, '  in  Grove's  Dictionary. 


: 


INTRODUCTORY   CHAPTER.  XXIX 

introduced  into  his  sonatas  and  such  works,  with  his  "independent  sets" 
Sir  Hubert  Parry  continues  : 

"  True,  the  basis  of  the  variations  is  for  the  most  part  melodic,  but  the  principle 
1-4  treated  with  more  solid  effect  than  usual  .  .  .  This  [movement]  contains  some 
extremely  happy  examples  of  the  exclusive  use  of  the  harmonic  principle,  as  in  the 
ninth  variation,  in  which  the  vigour  and  individuality  of  the  figure  give  the  varia- 
tion all  the  appearance  of  an  independent  piece.  Similarly,  in  the  eleventh,  Adagio 
C'antabile,  and  in  the  last,  in  which  the  time  is  changed  from  £  to  2,  the  melody  is 
so  devised  as  to  appear  really  new,  and  not  merely  the  theme  in  an  ornamental  dress. 

11  An  excellent  use  to  which  Mozart  frequently  puts  variations  is  that  of  pre- 
senting the  subjects  of  sonata-movements  in  new  lights,  or  adding  to  their  interest 
by  new  turns  and  ornaments  when  they  reappear  a  second  or  third  time  in  the  course 
of  the  movement.  One  example  is  the  recurrence  of  the  theme  in  the  '  Rondo  en 
Polonaise  '  which  forms  the  middle  movement  in  the  Sonata  in  D  just  referred  to. 
Another  is  the  slow  movement  of  the  well-known  Sonata  in  C  minor,  connected  with 
the  Fantasia  in  the  same  key." 

From  the  new  and  interesting  devices  which  originated  with  Haydn 
it  would  appear  that  the  variation-form  made  a  far  deeper  impression  on 
him  than  it  did  on  Mozart.  These  fresh  devices,  in  each  case,  added  some 
variety  to  the  form  of  the  movement  (or  piece)  and  thus  tended  to  lessen 
the  constructional  monotony  consequent  on  the  constant  repetition  of  the 
same  rhythmic  outline.  They  were  : 

(i)  Sets  of  variations  on  two  successive  themes. 

(ii)  Double  variations,  i.e.,  variations,  which  on  repetition,  were  repro- 
duced with  still  further  fresh  variation  in  either  one,  or  both,  of  the  Parts. 

(iii)  A  set  of  variations  in  which  episodes  were  introduced,  thus 
forming  a  species  of  Rondo  with  variations. 

In  the  hands  of  Beethoven  this  "  form "  underwent  a  marvellous 
development,  and  some  of  his  sets  surpass  all  others  which  have  ever  been 
written.  Of  them,  Sir  Hubert  Parry  writes  : 

"  Beethoven's  work  forms  an  era  in  the  history  of  variation-making.  It  was  a 
branch  of  art  eminently  congenial  to  him;  for  not  only  did  his  instinct  for  close 
thematic  development  make  him  quick  to  see  various  ways  of  treating  details,  but 
his  mind  was  always  inclined  to  present  the  innermost  core  of  his  idea  in  different 
forms In  principle  Beethoven  did  not  leave  the  line  taken  up  by  the  com- 
posers of  the  sonata  period,  but  he  brought  the  old  and  new  principles  more  to  an 
equality  than  before,  and  was  also  very  much  more  daring  in  presenting  his  model 
in  entirely  new  lights.  The  proportion  of  purely  ornamental  variations  in  his  works 
is  small ;  and  examples  in  which  the  variations  follow  the  theme  very  closely  are  more 
conspicuous  in  the  early  part  of  his  life  than  later ;  but  even  among  such  compara- 
tively early  examples  as  the  first  movement  of  the  Sonata  in  A  flat  (Op.  26),  or  the 
still  earlier  ones  in  the  Sonata  in  G  (Op.  14,  No.  2)  and  the  set  on  Righini's  air,  there 
is  a  fertility  of  resource  and  imagination,  and  in  the  last  case  a  daring  independence 

of  style,  which  far  outstrip  anything  previously  done  in  the  same  line Th<? 

finest  examples  of  his  work  of  this  kind  belong  to  the  last  period Those  in  the 

Sonatas  in  E  (Op.  109)  and  C  minor  (Op.  Ill),  the  two  in  the  Ninth  Symphony  and  the 


XXX  MOZART'S   PIANOFORTE    SONATAS. 

thirty-three  on  the  Waltz  by  Diabelli  ....  are  the  finest  and  most  interesting  in 
existence,  and  illustrate  all  manner  of  ways  of  using  the  form.  In  most  cases  the 
treatment  of  the  theme  is  very  free,  and  is  sometimes  complicated  by  the  structure 

of  the  movement In  Beethoven's  latest  productions  structural  and  melodic 

elements  are  brought  to  a  balance  and  made  to  minister  in  all  the  ways  that  artistic 
experience  and  musical  feeling  could  suggest  to  the  development  of  the  ideas  which 
lie  in  the  kernel  of  the  theme,  and  to  the  presentation  of  them  in  new  lights." 

Many  notable  sets  of  variations  have  been  written  by  modern  com- 
posers. But,  of  all  these  composers,  Brahms  alone  has  made  any  sub- 
stantial advance  towards  the  further  development  of  this  form.  Of  the 
latter's  works,  Sir  Hubert  Parry  remarks : 

"  By  far  the  finest  variations  since  Beethoven  are  fhe  numerous  sets  by  Brahms, 
who  is  akin  to  Beethoven  more  especially  in  those  characteristics  of  intellect  and 
strong  emphatic  character,  which  seem  to  make  variations  one  of  the  most  natural 
modes  of  expressing  ideas." 


DEVELOPED  TERNARY,  OR  SONATA,  FORM. 

C  haracteristic  features. 

Part  I — the  Exposition — which  contains  two  themes,  or  subjects,  the 
first  in  the  key  of  the  tonic,  the  second  in  a  related  key, 
the  two  subjects  being  usually  connected  by  a  modu- 
lating passage — the  transition. 

Part  II — the  Free  Fantasia,  or  Development — which  is  founded 
principally  on  material  already  heard  in  the  Exposition. 

Part  III— the  Recapitulation—which  repeats  Part  I  with  both  sub- 
jects in  the  key  of  the  tonic. 


INTRODUCTORY   CHAPTER. 
TABLE  VIII. 


xxxi 


SONATA,    SONATA-ALLEGRO,  OR  FIRST  MOVEMENT,    FORM,   OR   MOVE 

MENT  OF  CONTINUITY. 


PART  I. 

Exposition. 

(a)*  A.     First    Subject   in 
Tonic. 

(b)  Bridge-p  a  s  s  a  g  e,      or 
Transition,       modulat- 
ing    to,     or     towards, 
the  key  of  the  second 
subject. 

(c)  B.     Second   Subject  in 

related   key. 
Generally       consisting 
of    two    or    more    sec- 
tions,    and    frequently 
followed  by   a 

(d)  Codetta. 

(e)  :||:  or  :||  or  || 

In  modern  music  the 
double-bar  as  well  as 
the  repeat  is  also  fre- 
quently omitted. 


PART  II. 

Free  Fantasia  or  Develop- 
ment. 
(Founded  on  A  and  B.) 

(f)  As  a  general  rule 
chiefly  founded  on  fig- 
ures and  phrases  from 
the  Exposition, 
worked  thematically, 
and  more  or  less  freely 
modulating. 
N.B.—  M  o  z  a  r  t  fre- 
quently introduces  an 
Episode  into  this  sec- 
tion, occasionally  to 
the  entire  exclusion  of 
thematic  develop- 
ment. 


PART  III. 

Recalculation. 

(g)  A2  First  Subject 
Tonic. 
Bridge-passage,  or 
Transition,  usu- 
ally modified  to 
lead  to  the  second 
subject  in  the  key 
of  the  Tonic. 
B2  Second  Subject  in 

Tonic, 
(h)  Coda, 

Usually  added  in  mod- 
ern works. 


(a)  The  first  subject  is,  as  a  rule,  rather  short  and  of  well  defined 
character,  t    It  rarely  modulates  into  keys  other  than  those  nearly  related 
tc  it,  and  most  frequently  ends  on  a  full  cadence,  or  a  half -cadence,  in 
the  tonic. 

(b)  Although  a  definite  feature  of  this  form,  and  to  be  met  with  in 
the  great  majority  of  movements,  the  transition  is  occasionally  dispensed 
with. 

(c)  Prior  to  Beethoven,  the  choice  of  key  for  the  second  subject  was 
limited  to  those  nearly  related  to  the  tonic.     When  the  movement  was  in 
the  major  mode  the  second  subject  was  almost  invariably  written  in  the 


*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked  which  occur  in  the  sub- 
sequent text. 

t  Hadow  remarks  :  "  As  a  general  rule  we  may  say  that  in  a  well-constructed 
first  movement  the  proportion  of  the  opening  subject  varies  from  about  one-fourth 
to  about  one-twelfth  of  the  exposition  as  a  whole.  Of  course  this  law,  like  every 
formal  rule,  may  occasionally  be  broken  to  secure  some  dramatic  or  poetic  effect,  as, 
for  instance,  in  the  second  of  Schumann's  Strins;  Quartets,  but  apart  from  this,  it 
will  usually  be  found  to  hold  good." — "  Sonata  Form,"  W.  H.  Hadow 


xxxii  MOZART'S   PIANOFORTE   SONATAS. 

key  of  the  dominant  major,  and  when  in  the  minor  mode  it  was  either 
in  the  key  of  the  relative  major,  or  in  that  of  the  dominant  minor.  Beet- 
hoven, however,  introduced  many  innovations  as  regards  the  key  of  this 
subject,  a  practice  in  which  subsequent  composers  have  advanced  still 
further.  Yet,  in  spite  of  this,  in  the  greater  number  of  instances  the  old 
relationship  of  keys  between  the  subjects  is  still  adhered  to. 

Again,  Beethoven  and  later  composers  often  introduce  the  first  sec- 
tion of  the  second  subject  in  a  different  key  to  that  in  which  the  principal 
portion  of  the  subject  is  heard,*  the  music,  moreover,  frequently  modu- 
lating incidentally  through  various  other  keys.  Under  either  of  these 
conditions  the  keys  in  which  the  second  subject  reappears  in  the  recapitu- 
lation usually  bear  the  same  relationship  to  each  other  as  do  those  keys 
in  which  the  subject  originally  occurs  in  the  exposition. 

We  also  meet  with  occasional  instances  in  which  the  recapitulation 
of  the  second  subject  is  started  in  an  unusually  distant  key.  This  key, 
however,  rarely  continues  for  many  bars,  the  music  then  modulating  back 
to  the  tonic,  t 

(d)  The  final  section  in  the  exposition  frequently  forms  what  is 
known  as  the  codetta.  The  purpose  of  the  passage  is  to  lay  stress  on 
this,  the  culminating  point  in  the  secondary  key,  and  this  stress  is  often 
effected  by  more  or  less  emphatic  repetitions  of  the  full  close  in  the  par- 
ticular key.  In  the  works  of  Beethoven  and  more  modern  composers,  how- 
ever (and  in  one  interesting  exception  in  Mozart's  pianoforte  sonatas*)  we 
often  find  the  exposition  closing  with  a  link,  or  connecting  passage,  which 
leads  without  break  both  back  to  the  repetition  of  the  exposition  itself,^ 
and  on  into  the  free  fantasia. 

*  A  few  exceptional  instances  of  such  treatment  are  to  be  met  with  in  the  works 
of  Haydn,  and  there  is  one  instance  to  be  found  in  Mozart's  pianoforte  sonatas.  See 
the  Finale  of  Sonata  No.  12,  in  F  major,  in  which  the  whole  of  the  first  section  of 
the  second  subject  appears  in  the  key  of  the  dominant  minor.  The  section  ends  with 
a  Tierce  de  Picardie,  after  which  the  second  section  occurs  in  the  normal  key  of  the 
dominant  major. 

t  For  a  noteworthy  and  unusual  instance  of  the  use  of  remote  keys,  see  the 
Finale  of  Beethoven's  pianoforte  Sonata  in  E  fiat  major,  Op.  31,  No.  3.  In  this 
movement  the  second  subject  appears  in  the  exposition  in  B  flat  major,  the  normal 
key  of  the  dominant.  In  the  recapitulation,  however,  it  reappears  first  in  the  most 
unusual  key  of  the  flat  mediant  major  (G  flat  major),  and  this  entry  is  followed  by 
a  second  entry  in  another  unusual  key,  viz.,  that  of  the  tonic  minor.  There  is  a  dif- 
ference of  opinion  as  to  the  point  at  which  the  second  subject  of  this  movement  com- 
mences, and  therefore  as  to  whether  the  passage  in  E  flat  minor  is  a  repetition  of  the 
whole,  or  of  the  second  section  only,  of  the  subject. 

t  Sonata  XIV,  first  movement. 

§  In  movements  where  the  exposition  is  repeated. 


INTRODUCTORY   CHAPTER.  xxxiii 

(e)  In  Mozart's  time  the  exposition,  as  a  rule,  and  Parts'  II  and  III 
very  frequently,  were  marked  to  be  repeated.     The  practice  of  repeating 
the  later  portion  of  the  movement  first  fell  into  abeyance,  and  gradually 
that  of  repeating  the  exposition  has  followed  suit.     In  fact,  Beethoven 
occasionally  omits  the  double  bar  as  well  as  the  repeat  at  the  end  of  the 
exposition,  a  practice  which  is  frequently  followed  by  modern  composers. 

(f)  With  but  one  or  two  restrictions  as  regards  key,  a  composer  is 
practically  free  as  to  his  choice  of  the  manner  in  which  he  will  work  out 
this  portion  of  the  movement.     And  because  of  the  all  but  infinite  variety 
of  possible  methods,  it  is  riot  practicable,  in  the  space  of  an  introductory 
chapter,  to  do  more  than  add  a  very  few  remarks  on  this  section  to  those 
which  appear  in  Table  VIII. 

(i)  As  regards  key. 

The  key  of  the  tonic  and  that  chosen  for  the  second  subject  are 
heard  very  prominently  in  the  other  principal  divisions  of  the  movement, 
the  latter  key  in  the  exposition,  and  the  key  of  the  tonic  in  the  recapitu- 
lation. On  this  account,  therefore,  neither  of  these  keys  is  employed  in 
the  free  fantasia,  except  in  incidental  modulation,  and  with  one  other 
exception  as  regards  each  key.  Moreover,  save  in  incidental  modulation, 
no  key  is,  as  a  rule,  employed  a  second  time.  The  exception  referred  to 
in  the  case  of  the  secondary  key  is  that  not  infrequently  the  free  fan- 
tasia commences  in  the  key  in  which  the  exposition  has  just  closed,  but 
once  the  key  has  been  quitted  it  should  not  (save  incidentally)  be  heard 
again.  And,  as  regards  the  tonic,  we  find  that  in  some  movements  the 
return  to  this  key  is  made  at  a  -point  somewhat  in  advance  of  the  close 
of  the  free  fantasia.  It  must  be  noted,  however,  that  directly  the  retur 
to  the  key  of  the  tonic  is  heard,  it  heralds  the  near  approach — if  not  tl 
actual  entry — of  the  recapitulation. 

(ii)  Episodical  matter. 

In  the  works  of  Beethoven  and  of  other  composers  since  Mr 
time,  we  sometimes  find  an  episode  introduced   into  the   free   f- 
Where  this  occurs,  however,  it  usually  occupies  a  portion  only, 
occasionally  a  very  considerable  portion,  of  the  section.* 

(g)  Save  that  the  second  subject  reappears  in  the  key  of 
instead  of  in  the  related  key  (which  generally  necessitated 


*  In  his  book,  "Form  in  Music,"  Stewart  Macpherso.n  remarks 
not  usual,  the  cases  in  which  this  (i.e.,  the  introduction  of  an  ej 
sufficiently  numerous  to  prevent  the  proceeding  from  being  rega 
ceptional." 


xxxiv  MOZART'S   PIANOFORTE   SONATAS. 

modification  in  the  preceding  transition*)  the  recapitulation  in  the  earlier 
sonatas  was  frequently,  to  all  intents  and  purposes,  a  reproduction  of  the 
exposition,  with  little,  or  no,  further  modification.  On  the  other  hand, 
however,  various  instances  are  to  be  met  with  in  the  works  of  the  earlier 
composers  in  which  considerable  modification  occurs,  both  as  regards 
the  amount  of  subject-matter  repeated,  and.  the  manner  of  its  repetition. 
"And  in  modern  music,  the  trend  in  both  these  directions  has  con- 
tinued. In  the  former  direction,  it  tends  increasingly  towards  a  shorten- 
ing of  the  amount  recapitulated,  a  result  usually  effected  either  (i)  by 
omitting  the  repetition  of  a  portion  of  some  of  the  principal  sections — 
possibly  of  a  portion  of  all  of  them;  or  (ii)  occasionally,  though  far  less 
frequently,  by  the  omission  of  an  entire  subject, t  or  of  an  important  sec- 
tion of  it;  or  (iii)  though  very  rarely,  yet  occasionally,  by  the  omission 
of  the  transition.  As  regards  the  second  point,  viz.,  the  modification,  or 
variation,  in  the  treatment  of  the  subject-matter,  it  may  be  remarked  that 
although  we  meet  with  many  instances  in  which  the  first  subject  reap- 
pears with  some  modification,  it  is  by  no  means  of  such  frequent  occur- 
rence as  is  variation  in  the  repetition  of  the  second  subject,  nor  is  the 
variation,  as  a  rule,  so  great.  In  reference  to  the  point  as  affecting  the 
first  subject,  Macf  arren  writes  :  "  When  the  subjects  or  the  artist's  skill 
ir>  their  development  are  thus  exhausted,  the  music  returns  to  the  ori- 
ginal key  of  the  movement,  with  the  first  subject  in  its  original  rhythmi- 
cal simplicity — though  perhaps  with  the  decoration  of  some  new  figure 
of  accompaniment,  or  occasionally  with  a  counter-melody  embroidered 
upon  it." — "  On  the  Structure  of  a  Sonata,"  by  Sir  G.  A.  Macf  arren. 

Whereas,  as  affecting  the  second  subject,  Prout  remarks  :   "Occasion- 

lly  the  second  subject  is  so  far  altered  in  the  recapitulation  as  to  be 

nost  a  new  subject,  though  constructed  on  the  same  lines  as  before." 

In  movements  in  the  minor  mode,  when  the  second  subject  in  the  ex- 

tion  has  been  taken  in  the  key  of  the  relative  major,  in  the  recapitu- 

•»  it  is  taken  sometimes  in  the  key  of  the  tonic  major,  and  sometimes 

tonic  minor, %  the  latter  method  being  met  with  more  particularly 

rorks  of  the  earlier  composers. 


ionally,  when  the  original  transition  has  ended  on  a  half-cadence  in  the 
1  it  reproduced  exactly  in  the  recapitulation. 

'aw  remarks  :  "  When  a  whole  subject  is  omitted  from  the  recapitula- 
~r  because  that  subject  has  been  prominently  brought  forward  in  the 
>n  it  would  be  tedious  to  use  it'again  in  the  recapitulation." 
VIII,  first  movement  (j)  and  footnote  to  same,  page  50. 


INTRODUCTORY   CHAPTER.  XXXV 

Exceptional  features  in  the  Recapitulation. 

Instances  of  both  the  following  devices,  though  rarely  to  be  met  with, 
are  to  be  found  in  Mozart's  pianoforte  sonatas. 

(i)  The  reappearance  of  the  first  subject  In  the  recapitulation  in  the 
key  of  the  subdominant,  by  which  a  similar  relationship  of  keys  between 
the  two  subjects  is  retained  as  exists  between  them  in  the  exposition.  See 
first  movement  of  Sonata  No.  XVI,  in  C  major. 

(ii)  The  recapitulation  of  the  second  subject  before  that  of  the  first 
subject.  See  first  movement,  Sonata  IX,  in  D  major. 

(h)  The  very  important  and  often  lengthy  final  section  to  the  move- 
ment which  we  now  associate  with  the  term  coda  originated  with  Beet- 
hoven ;  in  fact,  as  Stewart  Macpherson  expresses  it,  "  may  almost  be  said 
to  have  been  a  creation  of  Beethoven." 

Before  his  time  a  great  many  sonata  movements  ended  with  a  re- 
capitulation of  the  closing  bars  of  the  exposition,  transposed,  of  course, 
into  the  tonic,  with  possibly  a  few  extra  chords  added  to  emphasise  the 
final  cadence. 

And  in  those  instances  where  composers  were  dissatisfied  with  such 
mere  repetition  for  the  close  of  the  entire  movement,  and  so  added  a  short 
passage  (after  the  repetition  of  the  latter  portion  of  the  movement) — to 
produce  a  more  satisfactory  feeling  of  climax,  such  passages  were  usu- 
ally of  simple  character,  and  never  of  very  great  length. 

There  is  absolutely  no  rule  as  regards  the  construction  or  length  of 
the  modern  coda. 

It  is  usually  founded  on  figures  and  phrases  from  the  themes  of  the 
movement,  presented  in  some  fresh  and  striking  manner,  and  possibly 
interspersed  with  new  passages  of  a  brilliant  character.  Occasionally, 
but  very  rarely,  we  find  an  entirely  new  theme  introduced.  Incidental 
modulation  is  often  to  be  met  with,  and  in  many  instances  a  very  effective 
commencement  of  the  coda  is  obtained  by  starting  it  out  of  the  tonic  and 
letting  the  music  modulate  back  to  that  key. 

See,  for  example,  the  first  movements  of  Beethoven's  Pianoforte  Son- 
atas, No.  4,  in  E  flat  major,  Op.  7,  and  the  Waldstein,  Op.  53. 

MODIFIED,  OR  ABRIDGED,    SONATA  FORM. 

This  form  is  briefly,  yet  fully,  described  as  a  sonata  r/fiovement  with 
the  Free  Fantasia  omitted. 


XXXVI 


MOZART'S   PIANOFORTE   SONATAS. 


TABLE  IX. 


(a)  MODIFIED,  OR  ABRIDGED,    SONATA-FORM. 

Exposition. 

A     First     Subject     in 
Tonic. 
Bridge-passage,    or 
transition, 
(b)  B.    Second    Subject    in 
related    key. 
(c)  See  below. 

(d)    Xo   Middle   Section. 

(e)    lie  capitulation. 

A2  First  Subject  in  Tonic. 
B  r  i  d  g  e-passage,      or 
Transition. 

B2  Second     Subject     in 
Tonic. 
Coda,      optional,      but 
very  frequently  added. 

(a)  This  form  is  most  frequently  to  be  met  with  in  the  slow  move- 
ments of  sonatas,  etc.,  but  it  is  also  often  employed  in  Opera-overtures. 

(b)  In  slow  movements  in  this  form,  the  second  subject  usually  con- 
sists of  one  section  only. 

(c)  The  exposition  in  modified  sonata-form  is  never  repeated,  nor  is 
the  double-bar  used  at  the  close  of  this  portion. 

(d)  A  short  link,  however,  sometimes  consisting1  of  a  single  chord, 
sometimes  extending  to  a  few  bars  in  length,  is  interpolated  here  and 
modulates  from  the  exposition  to  the  recapitulation. 

(e)  When  this  form  is  employed  for  slow  movements  the  subjects, 
more  particularly  the  first,  usually  reappear,  ornamented,  or  in  some  way 

(      varied. 

\  RONDO-SONATA   FORM. 

\  C  har  act  eristics. 

\  The  Rondo-Sonata,  Sonata-Rondo,  Grand,  or  Modern  Rondo,  by  all 
of  which  names  this  design  is  known,  is  a  form  in  which  are  combined 
certain  distinctive  features  which  are  severally  characteristic  of  the  two 
individual  forms,  the  older  rondo,  and  the  developed  ternary,  or  sonata, 
forms. 

The  connection  with  the  former  is  shown  by  the  three,  and  sometimes 
four,  Entries  of  the  principal  subject,  separated  by  intervening  matter 
of  a  contrasting  nature,  whilst  the  differences  are  apparent  (i)  in  certain 
inherent  Characteristics,  in  those  very  traits,  in  fact,  which  are  derived  from 
the  other \source  of  its  dual  origin;  (ii)  in  the  fact  that  the  first  episode, 
which  mujt  appear  in  a  related  key,  reappears  towards  the  end  of  the 
movement  tw  the  key  of  the  tonic.  This  second  entry  thereby  transforms 
the  theme  frbm  an  episode*  (a  feature  of  rondo-form)  into  a  second  sub- 
ject (a  feature^  of  sonata-form). 

*  See  §  (a)  to  Table  VlT  • 


INTRODUCTORY   CHAPTER. 


XXXVll 


On  the  other  hand,  whilst  the  second  entry  of  the  second  theme  and 
the  more  artistic  construction  of  the  movement  as  a  whole — due,  in  great 
part,  to  the  regular  introduction  of  more  or  less  important  transitional 
passages — are  characteristic  of  the  sonata-form,  the  rondo-sonata  differs 
from  the  latter  in  that : 

(i)  The  exposition,  instead  of  coming  to  an  end  in  a  related  key,  and 
with  the  close  of  the  second  subject,  returns  to  the  principal  subject  and 
terminates  with  a  re-entry  of  the  latter  in  the  key  of  the  tonic. 

(ii)  Part  II,  instead  of  being  developed  from  the  figures  and  themes 
already  heard  in  the  exposition,  consists  of  an  entirely  new  episode  (or 
third  subject,  as  it  is  sometimes  called)  in  another  new  key. 

TABLE  X. 


*(a)  RONDO-SONATA,  SONATA-RONDO,  GRAND,  OR  MODERN  RONDO, 

FORM. 

PART  I. 

PART  II. 

PART  III. 

Exposition. 

C.     Episode. 

Recapitulation. 

(b)  A.  Principal  Subject  in 

(e)  (Often  called  the  third 

A3.  Principal     Subject     in 

Tonic. 

subject). 

Tonio     (third     entry), 

Bridge-passage,      or 
Transition. 

In       another      related 
key,   and   always   mod- 

complete     or      incom- 
plete,    and    frequently 

ulating  so  as  to  end  on 

with  further  variation 

dominant   harmony    in 

B  r  i  d  g  e-passage,      or 

tonic  key. 

Transition. 

(c)  B.     Second    Subject   in 

B2.  Second     Subject     in 

related  key. 

Tonic. 

(d)  A2.  Principal     Subject 

A*,      (i)  Fourth    entry    of 

in     Tonic     (second 

Principal       Su  b- 

entry)     almost     al- 

N.B.—  T  h  i  s       section 

ject,     or,     more 

w  a  y  s       complete, 
and         frequently 

often     contains     some 
development   of   previ- 

frequently, 
(ii)   Fourth  entry  (usu- 

varied. 

ous  subject-matter. 
Occasionally,       though 

ally       incomplete) 
followed  by  Coda, 

very    rarely,    such  de- 

or 

velopment   entirely 

(iii)  Coda,        chiefly 

takes  the  place  of  the 

founded     on     the 

episode.  f 

Principal      S  u  b- 

ject. 

Occasionally,    though 

4 

very  rarely,  the  Coda 

contains    a    fourth 

complete      entry      of 

this  subject. 

*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked  which  occur  in  the  sub- 
sequent text. 

t  This  remark  refers  specially  to  pianoforte  music.    The    form    is    frequently    used    in    symphonies, 
quartets,  etc.,  and  Prout  points  out  that  "  in  the  majority   of  instances  it  will  'be   found  that   in   such 


xxxviii  MOZART'S  PIANOFORTE  SONATAS. 

(a)  This  form  of  rondo,  when  used  in  sonatas,  symphonies,  etc.,  is, 
as  a  rule,  only  employed  for  the  finale,  and  not  for  a  first,  or  for  a  middle, 
movement.     For  an  interesting  exception,  however,  see  the  slow  move- 
ment in  Schumann's  String  Quintet,  Op.  44. 

(b)  The  principal  subject  in  a  rondo-sonata  is  usually  of  simple  char- 
acter both  as  regards  rhythm  and  melody.     Both  subjects  (though  more 
particularly  the  first)  are  characteristically  simpler  in  these  respects  than 
are    those    usually    to    be   met    with    in  sonata-form.      Moreover,    in    a 
rondo-sonata,,  the  fiist  subject  is  always  more  important  than  the  second; 
the  latter  is  shorter  than  is  the  corresponding  subject  in  a  sonata,  and 
seldom  contains  more  than  two  sections,  frequently  only  one. 

(c)  In  a  movement  in  the  major  mode  the  second  subject  is  always 
taken  in  the  key  of  the  dominant  major,  and  in  a  movement  in  the  minor 
mode  in  that  of  the  relative  major.'* 

(d)  The  second  entry  of  the  principal  subject,  which  is  usually  com- 
plete, causes  a  partial  repetition  of  the  exposition.     In  a  rondo-sonata  the 
whole  of  the  exposition  is  never  repeated. 

(e)  "  The  episodical  part  of  a  rondo,  however  indeterminate,  is  usually 
more  settled  both  in  shape  and  key  system  than  the  free  fantasia  of  a 
ternary  movement.     It  is,  so  to  speak,  more  concrete  and  less  thematic." — 
W.  H.  HADOW. 


°f  the  movement  m°stly  consists  of 

*  See  footnote  *,  page  53. 


INTRODUCTORY  CHAPTER. 
TABLE  XI. 


xxxix 


COMPARATIVE   TABLE   OF   FORMS. 


OLDER  RONDO. 


A.  Principal     Theme     in 
Tonic. 

B.  Episode    I    in    related 
key. 

A. 2    Principal     Theme     in 
Tonic. 


C.     Episode  II. 

In      another      related 
key. 


A.3.    Principal     Theme     in 
Tonic. 

{Occasionally  contin-' 
uing 
D  Episode  III. 
A4  Principal  Theme 
Tonic. 
Coda  (sometimes). 


SONATA. 


RONDO-SONATA. 


Exposition. 

A.  First      Subject     inJA.     Principal    Subject    in 
Tonic. 

Transition. 

B.  Second  Subject  in  re- 
lated  key. 


N.  B.  Exposition 

ends  in  related  key. 
Free  Fantasia. 
(Founded  on  A.   and  B.^ 
Passing   through   vari- 
ous fresh  keys. 
Occasionally      contains 
an  Episode.* 


Tonic. 
Transition. 

B.  Second   Subject  in  re- 
lated key. 

A2.    Principal    Subject    in 
Tonic. 

N.B.  Exposition 

ends  in  Tonic. 

C.  Episode. 

In       another      related 

key. 

(See  Table  X,  Part  II, 

N.B) 


Eecapitulation. 

A2.    First     Subject     in  A3.    Principal    Subject    in 
Tonic.  Tonic. 

Transition.  Transition. 

B2.    Second       Subject       in 
B2.    Second       Subject       in          Tonic. 

Tonic.  A*.    Principal    Subject    in 

Tonic,  or  (or  and) 

Coda    (usually)    Tonic.  Coda     founded     on 

same. 


*  See  first   movement  of  Mozart's  Pianoforte  Sonata    in    F    major,  No.  12,  and   the    Finale   in    Beet- 
hoven's Pianoforte  Sonata,  Op.  2,  No.  1. 


xl 


MOZART'S  PIANOFORTE  SONATAS. 


TABLE  XII. 


COMPARATIVE  TABLE  OF  FORMS. 

OLD  SONATA  FORMS. 

MODIFIED  SONATA  FORM. 

Part  I. 

Part  I. 

Exposition. 

*A  ,    First  Melody  in  Tonic, 

A±      First      Melody      in 

A  i       First     Subject     in 

modulating  to 

Tonic,    modulating  toi           Tonic. 

Transition. 

B2     Second    Melody    in 

B2     Second    Melody    in 

B2     Second  Subject  in  re- 

Dominant.f 

Dominant,  f 

lated  key. 

:||:       Double    bar    and    re- 

:||:      Double    bar    and    re- 

No double   bar. 

peat. 

peat. 

Middle      section 

omitted. 

Part  II. 

Part  II. 

Recapitulation. 

A  2     First  Melody  in  Dom- 

A-a-    First  Melody  in  Dom- 

Ax     First     Subject     in 

inant,   modulating  to 

inant. 

Tonic. 

B  j      Second       Melody      in 

Modulating       passage 

Transition. 

Tonic. 

founded    011    previous 

:||       Double    bar    and    re- 

figures. 

peat. 

A±      First      Melody      in 

B±      Second    Subject    in 

Tonic. 

Tonic. 

Bj      Second    Melody    in 

Coda    frequently. 

Tonic. 

:||        Double    bar    and    re- 

II        Double  bar. 

peat. 

The  Fugue,  the  oldest  of  the  more  important  musical  forms,  was  not 
employed  by  Mozart  in  any  of  his  pianoforte  sonatas. 


Sonata 


*  The  employment  of  subscript  figures  as  symbols  of  key  is  borrowed  from  Hadow's  work,  " 
Form."    The  figure  1  represents  the  tonic  key,  thcfigure  2  the  secondary  key. 

t  When  the  movement  was  in  the  major  mode  the  modulation  was   always  to  the  key  of  the  domin- 
ant ;  when  the  movement  was  in  the  minor  mode  to  that  of  the  relative   major,  or  the  dominant  minor. 


SONATA  No.  I,  IN  C  MAJOR  (K.  279),  (1777). 
THEMATIC  SCHEME. 


A  llegvo 


_y  ^.g t 


- 


In  three  movements. 


FIRST  MOVEMENT—"  ALLEGRO,"  in  C  MAJOR.     SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

(a;*  First        Subject        in 
Tonic, 
(b)  Bridge-p  a  s  s  a  g  e      or 
Transition, 
(c)  Alternative  Analysis. 
/First  Subject  1-161.  '\ 
t  No    Bridge-passage.     / 
'(d)  Second    Subject    in    A 
minor  and  in  G  major 
(Dominant). 

(e)    /First    §f    163-311.  ) 
jjf)    I  Second  §   31-1-38.    / 
Double  bar  and  repeat. 

1-51 
5-1-161 

163-38 

(g)  Bars  39-57. 

First  Subject  in  Tonic 
(  unaltered)  . 
(h)  Bridge-passage    (short- 
ened and  modified). 

Second        Subject 
(lengthened)       in       D 
minor     and     C     major 
(Tonic), 
(j)     f  First   §   70-921.        j 
(k)    [Second    §    92-1-100.  j 

58-621 
62-1-69 

70-100 

SECOND  MOVEMENT — "ANDANTE,"  IN  F  MAJOR  (KEY  OF  THE  SUBDOMINANT). 

(a)  SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

43-46 
46-3-50 

51-681 

682-74 

(b)  First  Subject  in  Tonic. 

(c)  Bridge-p  a  s  s  a  g  e       or 
Transition, 
(d)  Second    Subject    in    C 
major  (Dominant), 
(e)  Codetta. 

(f)    Double  bar  and  repeat. 

To  61 

62-10 

11-261 
26-1-28 

(g)  Bars  28-3-42. 

(h)  First  Subject  in  Tonic 
(incomplete), 
(j)    Bridge-passage    (new). 

Second     Subject    in 
Tonic  (slightly  length- 
ened). 
(k)  Coda. 

THIRD  MOVEMENT—"  ALLEGRO,"  IN  C  MAJOR.      SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

(a)  First  Subject  in  Tonic, 
(b)  Bridge-passage      or 
Transition, 
(c)  Second    Subject    in    G 
major  (Dominant), 
(d)    (  First   §    22-2-381.  1 
(e)    I  Second  §  382-561.  / 
Double  bar  and  repeat. 

To  101 
10-2-221 
22-2-561 

(f)    56-2-86. 

(g)  First  Subject  in  Tonic, 
(h)  Bridge-p  a  s  s  a  g  e      or 
Transition. 
Second    Subject    in 
Tonic     (lengthened)  . 

(j)     ,  First    §    (exactly  x 
transposed)    108-2— 
J    1241. 
Second    §    length-   1 
1  ened  1242-158.         ; 

86-2-961 
96-2-1081 
108-2-158 

*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked  which  occur  in  the  subsequent 
it. 
t  The  symbol   §   is  here  employed  to  denote  a  section  of  a  subject. 


2  MOZART'S   PIANOFORTE   SONATAS. 

FIRST   MOVEMENT. 

(a)  The   first   subject   is   very   short.     It   consists   of   two   three-bar 
phrases  which  overlap;  the  second  phrase  is  a  repetition  of  the  first. 

(b)  With  the  exception  of  an  occasional  passing  touch  into  other 
keys,  this  passage  is  entirely  in  the  key  of  C  major,  in  which  it  ends  on  a 
half -cadence,  bar  16. 

N.B. — There  is  a  difference  of  opinion  as  to  whether  or  not  Mozart 
always  intended  a  separate  and  distinct  passage  for  the  transition  in  his 
movements  in  sonata-form.  Some  authorities  consider  that  he  did,  and 
that  therefore,  in  movements  where  such  a  passage  is  not  very  clearly  in- 
dicated, an  attempt  should  always  be  made  to  establish  one :  where  pos- 
sible, some  previous  cadence  in  the  tonic,  either  a  full  or  a  half,  cadence 
— that  can  consistently  be  so  called— should  be  considered  as  the  end  of 
the  first  subject  (see  Thematic  Scheme,  a,  b)  and  the  bars  from  that  point 
to  the  second  subject  should  be  regarded  as  the  transition. 

On  the  other  hand,  a  good  many  maintain,  not  only  that  a  first  sub- 
ject must  at  least  be  eight  bars  in  length,  but  that  where  it  ends  on  a  half- 
cadence  in  the  key  of  the  tonic,  such  necessity  for  a  separate  and  dis- 
tinct passage  of  transition  is  obviated  [see  Thematic  Scheme  (c)].  In  this 
sonata,  however,  a  comparison  with  the  corresponding  portion  in  the  re- 
capitulation (bars  58-69)  which  modulates  to  the  key  of  F  major  immedi- 
ately after  the  perfect  cadence  in  C  major,  marked  in  (a)  as  the  end  of 
the  first  subject,  gives  weight  to  the  view  first  expressed  above.  [See 
Thematic  Scheme  (a),  (b).] 

(c)  Alternative  analysis.     No  transition,  but  the  first  subject  con- 
tinues to  the  half -cadence  in  the  tonic,  bar  i6\  and  leads  directly  into 
the  second  subject. 

In  this  case,  this  subject  would  come  under  the  third  of  the  three 
heads  under  which  Hadow,  in  point  of  style  and  phraseology,  classifies 
the  first  subject.  Those  ranged  under  this  head,  he  describes  as  con- 
sisting of  "  a  set  of  two  or  more  sectional  passages  in  which  rhythmic 
phrases  and  short  melodic  stanzas  are  combined."* 

(d)  The  second  subject  starts  in  an  unusual  key;  it  is   divided  into 
two  sections. 

(e)  The  first  section  opens  with  a  two-bar  phrase  in  A  minor  (the  re- 
lative); this  phrase  is  immediately  repeated  one  degree  lower  in  G  major 
— the  usual  key  of  the  dominant — in  which  key  the  subject  continues  to 
the  close.     Bars  22-24!  form  a  descending  sequential  passage— repeated 

*  "Sonata  Form,"  by  W.  H.  Hadow. 


SONATA  NO.    I.  3 

modified  in  24-25 ;  the  whole  section  is,  in  fact,  lengthened  by  numerous 
repetitions;  it  ends  on  a  perfect  cadence,  bar  3I1. 

(f)  The  second  section  consists  entirely  of  cadential  repetitions  and 
extensions. 

(g)  The  free  fantasia  starts  in  G  minor  with  a  passage  founded  on 
the  opening  bar  of  the  first  subject  in  combination  with  the  semiquaver 
figure  found  in  the  second  section  of  the  second  subject,  it  passes  from 
G  minor,  through  the  keys  of  D  minor,  and  C  major,  to  A  minor — to  the 
latter,  through  the  chord  of  the  Neapolitan  sixth,  bar  44.     Bars  45~473 
form  a  short  modulating  sequence,  probably  suggested  by  the  descending 
scale  figures,  bars  22-23,  and  passing  through  the  keys  of  A  minor  and 
G  minor  to  F  major.     At  each  repetition  of  the  semiquaver  figures  the 
parts  are  inverted.     Bars   48-51    are  reminiscent  of  the  transition,   and 
are  followed  by  a  short  passage  on  G  (dominant  of  C  major),  worked  on 
a  variation  of  the  figures  from  the  opening  bar  of  the  first  subject,  and 
ending  with  a  scale  passage  which  leads  into  the  recapitulation  of  this 
subject,  bar  58. 

Hadow  draws  attention  to  two  facts  to  which  he  thinks  attributable  (at  least  in 
part)  the  more  simple  character  of  the  free  fantasia  in  sonata-form  movements  by 
Haydn  and  Mozart,  as  contrasted  with  those  by  Beethoven  and  later  composers. 
These  are  : 

(i)  That  with  the  former  writers  both  subjects  are  usually  melodic,  and  that  a 
melodic  stanza  is,  on  the  whole,  less  suited  to  thematic  treatment  than  a  phrase 
which  relies,  not  upon  its  curve,  but  upon  its  rhythm. 

(ii)  That  this  portion  of  the  work  being  still  in  its  infancy  the  keys  employed  by 
Haydn  and  Mozart  are  neither  numerous  nor  remote. 

(h)  The  transition  reappears  modified,  and  shortened  by  the  omis- 
sion of  part  of  the  original  passage. 

(j)  The  first  section  of  the  second  subject  is  much  lengthened.  It 
should  be  noted  : 

(i)  That  the  first  phrase  is  in  D  minor,  which  corresponds  to  the  key 
of  C  major  (the  tonic)  as,  in  the  exposition,  A  minor  corresponds  to  the 
key  of  G  major  (the  dominant); 

(ii)  That  the  phrase  commences  with  reversed  accents  (compare  with 
bar  i63'4),  but,  that  by  the  interpolation  of  an  extra  half -bar,  it  ends  with 
the  accents  in  their  original  positions ; 

(iii)  That  this  extra  half -bar  has  an  exactly  opposite  effect  on  the 
repetition  of  the  phrase  which  immediately  follows;  the  repetition  com- 
mencing with  the  accents  as  originally  written  and  ending  with  them 
again  reversed. 


4  MOZART'S  PIANOFORTE  SONATAS. 

Naturally  the  foregoing  transposition  of  the  accents  also  affects  the 
following  phrase,  744-;83,  causing  it  also  to  reappear  with  accents  re- 
versed. 

One  other  point  to  be  noticed  is  that  the  additional  passage  (bars  82- 
861),  which  is  here  introduced  into  the  second  subject,  is  founded  on  the 
bars  of  the  original  transition  which  have  just  been  omitted  in  the  re- 
capitulation of  that  passage — the  last  part  being  an  exact  repetition. 

(k)  The  second  section  is  slightly  lengthened  at  the  end  to  emphasise 
the  final  cadence. 

SECOND   MOVEMENT. 

(a)  It  is  somewhat  unusual  in  sonatas  for  the  slow  movement  to  be 
written  in  unabridged  sonata-form,  and  still  more  so,  as  in  this  instance, 
for  all  the  movements  to  be  in  the  same  form.     (See,  however,  No.  5,  in  G 
major.     Sonatas  VIII,  XIII   and  XV  also  contain  slow  movements   in 
this  form.) 

(b)  The  first  subject  is  a  sentence  of  six  bars,  consisting  of  three  two- 
bar  phrases.     In  the  treble  it  ends  on  the  first  beat  of  bar  6,  the  harmony, 
however,  carrying  it  on  till  the  second  beat  in  the  bass. 

(c)  The  transition  passes  transiently  through  B  flat  major  to  C  major, 
in  which  key  it  ends  on  an  inverted  cadence. 

(d)  The  second  subject  commences  with  a  motive  repeated  three  times 
to  an  accompaniment  which,  each  time  varying  slightly,  forms  a  sequence 
in  the  upper  of  the  two  parts.     By  the  elision  of  a  bar  in  the  responsive 
phrase,  the  sentence  is  first  contracted  to  seven  bars ;  it  is  then  extended 
to  sixteen  bars  by  a  lengthened  and  varied  repetition  of  the  same  phrase. 
The  inversion  of  the  parts  between  bars  14  and  17  should  be  noted. 

(e)  But  for  the  fact  that,  at  the  end  of  the  movement,  the  coda  separ- 
ates these  three  bars  from  the  second  subject,  it  would  be  hardly  neces- 
sary here  to  consider  them  apart  as  a  codetta. 

(f)  Note  the  double  bar  and  repeat  marks.     As  a  general  rule,  in  the 
comparatively   few   instances   in  which   unabridged   sonata-form   is  em- 
ployed in  slow  movements,  the  exposition  is  not  repeated  nor  even  fol- 
lowed by  a  double  bar. 

It  is  therefore  the  more  interesting  to  note  that  in  the  various  slow 
movements  in  his  pianoforte  sonatas  written  in  this  form  (opinions  differ 
as  to  whether  they  are  five  or  seven  in  number),  Mozart  has  each  time 
closed  the  exposition  with  both  double-bar  and  repeat  marks. 

(See  Sonata  II,  slow  movement,  d ;  Sonata  III,  footnote  t  to  Thematic 
Scheme;  and  slow  movements  in  Sonatas  V,  VIII,  XIII  and  XV.) 


SONATA  NO.    I.  5 

(g)  Part  II  is  founded  chiefly  on  the  first  subject.  It  starts  in  the 
key  of  C  major,  and,  passing  through  D  minor  and  G  minor,  ends  on 
the  dominant  seventh  of  F  major  (bar  41),  followed  by  a  link  which  leads 
into  the  recapitulation  of  the  first  subject. 

(h)  There  is  only  a  partial  reappearance  of  the  first  subject. 

(j)  In  all  but  the  last  bar  this  short  passage  is  quite  distinct  from 
the  original  transition.  It  starts  by  repeating  the  last  figure  of  the  frag- 
ment of  the  first  subject;  and  its  second  and  third  bars  are  derived  from 
the  last  bars  of  the  second  subject. 

(k)  The  coda  consists  of  (i)  the  repetition  of  the  original  transition, 
modified  slightly,  in  bar  71,  to  lead  to  (11)  the  reappearance  of  the  codetta, 
now,  of  course,  in  the  key  of  the  tonic. 

THIRD   MOVEMENT. 

The  generally  contrapuntal  character  of  this  movement  should  be 
noted. 

(a)  The  first  subject  is  a  sentence  of  ten  bars  and  consists  of  two 
phrases.     The  first  phrase  ends  bar  4,  the  second,  commencing  an  octave 
lower,  with  a  repetition  of  the  opening  bars,  is  lengthened  to  six  bars. 

(b)  The  transition  modulates  to  G  major  (the  key  of  the  dominant), 
bar  14,  in  which  it  ends  on  a  half -cadence,  bar  22. 

(c)  It  is  interesting  to  note  that  the  opening  motive  of  the  second 
subject  is  also  founded  on  the  skip  of  a  perfect  fourth;  compare  with 
the  opening  of  the  first  subject.    * 

Furthermore  in  Mozart's  and  Haydn's  works  the  second  subject  was  sometimes 
made  to  commence  with  the  same  melody  as  the  first  subject — transposed,  of  course, 
into  the  key  of  the  dominant.  This  was  a  survival  from  the  old  binary  form.  It 
affected,  however,  only  the  first  section  of  the  second  subject  and  by  Beethoven's  time 
had  become  obsolete  (see  Sonata  XVIII,  in  D  major,  first  movement). 

(d)  The  first  section,  sixteen  bars  in  length,  commences  with  a  de- 
scending sequence  formed  by  the  opening  two  bars  being  twice  imitated 
— each  time  at  the  interval  of  a  third  below  the  previous  entry.     Bars 
34-36  also  form  a  descending  tcnal  sequence. 

(e)  The  second  section  consists  almost  entirely  of  modified  repeti- 
tions of  its  first  two  bars,  382-4O1.     In  bars  44-46  the  semiquaver  move- 
ment is  transferred  to  the  treble  and  the  melody  is  formed  by  the  first 
and  fourth  notes  of  each  group — and  in  bars  48-49  and  52-53  by  the 
second  and  fourth  notes. 

(f)  The  free  fantasia  commences  with  a  repetition  of  the  sequence 
of  six  bars — with  a  slightly  modified  accompaniment — from  the  opening 


6  MOZART'S  PIANOFORTE  SONATAS. 

of  the  second  subject.  It  incidentally  touches  the  keys  of  D  major  and 
B  minor,  and  passes  through  C  major  to  A  minor,  in  which  key  and  over- 
lapping (bar  62)  the  sequence  is  repeated,  with  inversion  of  the  parts; 
the  repetition  also  touches  the  key  of  C  major.  Bars  72-76  form  a  short 
passage  on  the  dominant  E,  approached  through  the  chord  of  the  German 
sixth,  bar  69  (repeated  bar  71).  The  remainder  of  this  section  is 
worked  on  the  opening  motive  of  the  first  subject  taken  alternately 
in  the  treble  and  bass,  and  passes  from  the  key  of  E  minor  through  D 
minor  to  C  major  (the  tonic).  The  section  actually  ends  with  the  open- 
ing figure  of  the  first  subject  in  the  key  of  the  tonic,  which  figure  is  im- 
mediately repeated  an  octave  higher  in  the  next  two  bars  as  the  com- 
mencement of  the  recapitulation. 

Note  (i)  that  in  bars  79-80  and  83-84,  in  which  the  motive  is  trans- 
ferred to  the  bass  both  the  figure  and  the  accompaniment  are  varied ;  and 
(ii)  that  bars  81-84  (one  note  excepted)  form  a  real  sequence  to  77-80. 

(g)  In  bars  91-93  the  parts  are  inverted,  otherwise  the  first  subject 
reappears  practically  unaltered. 

(h)  The  transition  starts  in  F  major  and  modulates  to  C  major,  cor- 
responding to  the  keys  of  the  original  passage,  which  starts  in  C  major 
and  modulates  to  G  major. 

(j)  The  second  section  of  the  second  subject  reappears  transposed 
into  the  key  of  the  tonic  and  considerably  lengthened  by  the  interpola- 
tion midway  (bars  132-147)  of  a  portion  of  the  first  section.  In  bar  135, 
a  variation  of  the  sequence,  with  which  the  second  subject  opens,  com- 
mences, but  reduced  from  six  bars  to  four. 

Following  immediately  and  overlapping  (bar  139)  there  is  a  repeti- 
tion of  the  same  sequence  in  full,  with  the  parts  inverted,  and  the  bass 
reinforced  by  octaves  (compare  also  with  bars  62-68);  the  interpolated 
passage  ends  with  a  full  cadence  in  the  tonic,  bar  147. 

There  is  no  coda,  but  two  extra  chords  are  added  at  the  close  of  the 
movement  to  emphasise  the  final  cadence. 


SONATA  No.  II,  IN  F  MAJOR  (K.  280),  (i;;;). 
THEMATIC  SCHEME. 


Allegro  assai 


J 


In- 


movements. 


FIRST  MOVEMENT  —  ' 
EXPOSITION. 

'  ALLEGl 
Bars. 

IO  ASSAI,"  IN  F  MAJOR.     SONATA  FOR 
FREE  FANTASIA.  ||           RECAPITULATION. 

M. 
Bars. 

(a)*  First  Subject  in  Tonic. 

(b)  Bridge-p  a  s  s  a  g  e      or 
Transition, 
(c)  Second    Subject    in    C 
major  (Dominant), 
(d)    f  First  §f  27-43.     \ 
(e)  1  Second  §  43-2-541.  J 
(f)    Codetta, 
Double  bar  and  repeat. 

1-131 

13-1-26 
27-541 

54-56 

(g)  Bars  57-82. 

First  Subject  in  Tonic 
(unaltered), 
(h)  Bridge-p  a  s  s  a  g  e      or 
Transition. 
Second  Subject  in  Tonic 
(lengthened), 
(j)    f  First    §   109-131.        \ 
\Second  §  131-2-1421.  J 
(k)  Codetta. 
(1)    Double  bar  and  repeat. 

83-951 
95-1-108 
109-1421 

142-144 

SECOND  MOVEMENT— "  ADAGIO,"    IN  (a^  F  MINOR  rTHE  TONIC  MINOR),  (b)  MODI- 
FIED SONATA  FORM. 


(c)          EXPOSITION. 

Bars. 

(f)       RECAPITUIATION. 

Bars. 

First  Subject  in  Tonic. 
No  Bridge-passage. 

Second    Subject    in    A 
flat  major  (relative). 
Codetta, 
(d)  Double  bar  and  repeat. 

1-8 

9-211 
21-1-24 

(e)  Link    (or    De- 
velopment §). 

Bars  25-32. 

First     Subject     in     C 
m  i  n  o  r         (Dominant 
minor)    and    F    minor 
(Tonic), 
(g)  Second  Subject  in  Tonic 
(slightly  lengthened). 
Codetta  in  Tonic. 

33-42 

43-571 
57-1-60 

Part  I. 


Part  U. 


(h)  **ALTERNATIVE  ANALYSIS.     BINARY  FORM. 

First  sentence  (F  minor) 8  bars. 

Second  sentence  (A  flat  major)  ...          ...          ...          ...          ...          ...          ...     16     ,, 

Double  bar  and  reneat. 


Intermediate  sentence       

Modified  repetition  of  first  sentence  (C  minor  and  F  minor) 
Modified  repetition  of  second  sentence  (F  minor) 


8 

10 
18 


Those  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
text. 

t  The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject. 

**  See  "  Musical  Form,"  E.  Prout.  in  which  he  refers  to  this  nmvement  as  "  a  very  interesting  specimen 
of  simple  binary  form,"  cf.,  Sonata  IV,  second  movement,  c.  page  24. 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT  —  "PR 
EXPOSITION.               '     Bars.    1 

ESTO,"  IN  F  MAJOR.     SONATA  FORM. 
FREE  FANTASIA,    i           RECAPITULATION.                Bars. 

(a)  First  Subject  in  Tonic.    To  16 

(b)  Bridge-p  a  s  s  a  g  e      or  I 
Transition.                           17—37 
(c)  Second    Subject    in    G 
major  (Dominant).         !    38-661 

(d)  Codetta.                            |  €62-771 

v 

Double  bnr  and  repeat.! 

(e)  Bars  78-106. 

First  Subject  in  Tonic; 
(unaltered).                      j  1073-123 
(f)    Bridge-p  a  s  s  a  g  e      or 
Transition     (1  e  n  g  t  h- 
ened).                                 !  124-148 
Second    Subject    (in  ' 
Tonic).                                 149-1771 
(g)  Codetta.                              1772-190 
(h)  Double  bar  and  repeat.! 

FIRST   MOVEMENT. 

(a)  The  first  subject  commences  with  a  six-bar  phrase,  the  extension 
being  caused  by  sequential  imitation  over  a  short  tonic  pedal.     The  re- 
sponsive phrase  appears  twice,  the  first  time  as  a  three-bar  phrase— short- 
ened by  the  omission  of  the  final  chord  of  the  cadence.     On  the  repeti- 
tion of  the  phrase,  however,  the  final  chord  is  added,  and  the  subject 
ends  on  a  full  cadence  in  the  tonic,  bar  I31. 

(b)  The  transition  is  written  entirely  in  triplets,  and  ends  on  a  half- 
cadence  in  F  major  (tonic).     Bars  18-22  form  a  sequence  on  a  chromatic- 
ally descending  bass. 

(c)  The  second  subject  in  C  major  is  divided  into  two  sections,  each 
ending  on  a  perfect  cadence. 

(d)  It  should  be  noted  that  the  second  subject  opens  in  the  bass,  and, 
like  the  first  subject,  with  an  arpeggio,  which,  however,  is  now  taken  by 
inverse  movement. 

Ihe  first  phrase  of  the  first  section  consists  of  four  bars  on  tonic  and 
dominant  harmonies,  the  former  predominating,  and  ends  with  a  half- 
cadence,  bar  30.  This  phrase  is  repeated,  bars  31-34,  with  the  harmonies 
in  reversed  positions,  and  ends  with  a  full  cadence:  Bars  35-39  form  a 
sequence  on  a  chromatically  rising  bass.  The  triplet  figures  in  the  treble 
are  derived  from  those  in  the  transition.  The  greater  part,  viz.,  four 
bars,  of  this  sequence  is  real. 

(e)  The  second  section  starts  with  a  new  figure  in  semiquavers,  which 
figure  is  repeated  sequentially,  bars  43-4 5.     The  first  phrase  ends  with  a 
perfect  cadence,  bar  48.     Bars  48-54!   form   a  lengthened  and   slightly 
varied  repetition  of  43-48. 

(f)  The  codetta  is  founded  on  the  opening  figure  of  the  second  sub- 
ject, taken  with  partial  diminution. 


SONATA  NO.   II.  9 

(g)  The  free  fantasia  alludes  to  the  transition  and  to  the  second 
subject,  bars  80-82  alone  referring  to  a  little  figure  from  the  first  subject. 
It  opens  in  the  key  of  C  major  with  a  passage  founded  on  the  triplet 
figure  from  the  transition  (bar  23)  in  combination  with  a  new  figure  in 
the  treble,  of  which  latter  there  is  some  slight  development  in  the  fol- 
lowing bars.  In  bar  64,  the  music  modulates  to  D  minor,  and  starting  in 
this  key  in  bar  67,  there  follows  a  modulating  sequence  formed  by  the 
opening  bars  of  the  second  subject,  which  are  taken  successively  on  the 
chords  of  D  minor,  G  minor,  C  major  (as  the  dominant  of  F  major)  and 
on  F  major. 

The  music  now  returns  to  the  key  of  D  minor,  and  reverts  definitely 
to  F  major  (the  key  of  the  tonic)  in  the  last  bar  of  the  section  only*  (82). 
The  slurred  two-crotchet  figure  (bars  75-77)  are  taken  from  a  similar  two- 
quaver  figure,  bar  40.  By  an  implied  enharmonic  modulation  (bar  81) 
the  chord  of  D  minor  IIgh  is  quitted  as  F  major  II^93 

(h)  With  the  exception  of  bars  ioo3-ic>3  the  second  transition  is  an 
exact  repetition  of  the  original  passage. 

(j)  The  second  subject  reappears  transposed  almost  literally  into  the 
key  of  the  tonic,  but  lengthened  in  the  first  section  by  the  interpolation 
of  six  bars  (117-122).  In  these  the  opening  figure  of  the  subject  is  taken 
in  alternate  bars  in  exact  and  in  modified  form — the  former  in  the  bass, 
the  latter  transferred  to  the  treble — accompanied  each  time  by  a  varia- 
tion of  the  semiquaver  figure  from  the  second  bar  of  the  subject.  The 
whole  passage  forms  a  descending  sequence  which,  however,  alters  in  the 
last  two  bars. 

(k)  There  is  no  coda,  the  movement  ends  with  a  repetition  of  the 
codetta  transposed  into  the  key  of  the  tonic. 

(1)  In  his  pianoforte  sonatas  Mozart  very  frequently  marks  the 
second,  as  well  as  the  first,  part  of  his  sonata  allegro  movements  to  be 
repeated.  This  custom,  which  is  now  practically  obsolete,  was  almost 
invariable  in  the  older  sonata-forms  from  which  the  newer  design  was 
gradually  evolved.  Its  ultimate  origin  is  traceable  even  further  back  to 
the  still  more  ancient  dance-forms. 

SECOND    MOVEMENT. 

(a)  This  is  the  only  pianoforte  sonata  by  Mozart  in  which  the  slow 
movement  is  written  in  the  key  of  the  tonic  minor. 

*  cf.  last  movement.     See  also  Sonata  IV,  third  movement,  and  Sonata  V.  slow 
movement. 


I0  MOZART'S   PIANOFORTE   SONATAS. 

(b)  The  movement  here  tabulated  as  in  modified  sonata-form  is  vari- 
ously described  by  different  authorities,  viz.,  as  in  : 

(i)  Modified  (or  abridged)  sonata  form; 

(ii)  Unabridged  sonata  form;  and 

(iii)  Simple  binary  form. 

According  to  the  last-named  view,  therefore,  it  is  divided  into  two, 
instead  of  into  three,  parts. 

The  very  fact  that  the  form  of  this  little  movement  can  be  variously  analysed  by 
different  authorities  makes  the  study  of  its  construction  of  the  greater  value  to  stu- 
dents. They  should  carefully  weigh  the  pros  and  cons  with  reference  to  each  of  the 
above  analyses,  noting  the  remarks  made  in  Sonata  IV,  second  movement  (c).  A 
comparison  of  the  construction  of  the  movement  with  that  of  the  Minuet  in  A  major. 
Sonata  XI,  will  also  be  found  to  be  both  interesting  and  instructive. 

(c)  The  exposition  (=  Part  I)  consists  of  the  first  subject,  a  sentence 
of  eight  bars  in  F  minor,  followed  immediately  by  the  second  subject,, 
a  sentence  of  just  over  twelve  bars  (to  2I1)  in  A  flat  major,  to  which  a 
short  codetta  is  added,  founded  on  the  opening  figure  of  the  movement. 

The  first  subject  unquestionably  divides  into  two  four-bar  phrases, 
the  first  ending  on  an  interrupted,  the  second  on  a  full,  cadence.  It  is  on 
the  construction  of  the  second  subject,  bars  9-2 11,  that  the  second  differ- 
ence of  opinion  as  to  this  little  movement  arises,  a  difference  which,  though 
on  a  point  of  lesser  importance,  is  so  radical  that  we  feel  no  further 
justification  is  needed  for  our  dwelling  on  it  at  some  length  for  the 
student's  consideration,  nor  for  the  very  full  quotations  we  make. 

(i)  Prout  divides  the  sentence  into  two  phrases,  he  remarks  : 

*  In  spit?  of  its  irregular  length,  its  rhythmical  analysis  offers  not  the  slightest 
difficulty,  if  we  bear  in  mind  our  guiding  rule  that  the  bars  in  which  the  cadences, 
are  found  are  the  accented  bars,  and  that  the  most  decided  cadences  indicate  the 
fourth  and  eighth  bars  of  a  sentence.  \Ve  see  that  the  fore-phrase  is  of  the  regular 
length  of  four  bars  and  that  the  half-cadence  with  which  it  concludes  is  repeated, 
4a,  two  bars  later  (4a  =  bar  14).  At  5a  (  =  16)  we  see  the  interpolation  of  an 
unaccepted  bar  ;  it  is  quite  clear  that  we  should  be  wrong  to  consider  this  bar  as  the 
sixth  and  the  next  one  as  the  seventh,  because  the  harmony  shows  the  latter  to  be 
an  accented  bar  as  compared  with  the  former.  Three  bars  later  (  =  bar  19)  the 
interrupted  cadence  changes  the  eighth  bar  to  a  sixth,  and  the  full  cadence  in  A 
flat  (bar  21)  is  the  true  eighth  bar. 

(ii)  On  the  other  hand,  Percy  Goetschius  divides  the  sentence  into 
three  phrases,  thus  :  — 

Bars  9-12;  13-16;  and  17-21;  and  remarks: 

f  It  is  evident  that  this  series  cannot  be  reduced  to  two  phrases  and  be  thus, 
demonstrated  as  an  extended  "  period  "  of  some  kind,  for  each  of  the  three  phrases 
is  an  independent  melodic  factor  of  the  collective  sentence,  though  perfect  organic 
cohesion  is  maintained  (chiefly  through  the  uniform  accompaniment). 

*"  Musical  Form."    E.  Prout.  i  "  Homophonic  Forms."    Percy  Goetschius. 


SONATA  NO.   II.  II 

Thus  we  find  that  bar  16,  which  Prout  has  just  clearly  demonstrated 
to  us  cannot  be  the  cadence  bar  of  a  subordinate  two-bar  section  but  is 
an  interpolated  unaccented  bar,  is,  according  to  Percy  Goetschius,  the 
cadence  bar  of  a  4~bar  phrase,  and  vice  versa. 

The  various  instances  of  imitation  between  the  parts  should  be  noted 
in  the  first  subject,  the  chord  of  the  German  sixth  in  bar  13  (and  in  47), 
and  the  first  inversion  of  the  chord  of  the  supertonic  minor  ninth,  in  bar  1 5. 

(d)  The  exposition  ends  with  double  bar  and  repeat,  a  fact  to  which 
Prout  refers  as  clearly  marking  the  form  of  the  movement  as  binary. 

In  whichever  form  Bertenshaw  considers  it  to  be  written,  he  cer- 
tainly is  not  of  the  opinion  that  the  movement  is  in  modified  sonata- 
form,  for  he  remarks  that  "  in  slow  movements  in  this  form,  the  double 
bar  and  repeat  marks  are  never  used  at  the  end  of  the  exposition."* 
Cf.  Sonata  I,  slow  movement,  §  f. 

(e)  Part  II  consists  of  a  passage  of  eight  bars,  starting  in  the  key  of 
A  flat  major,  and  of  which  the  opening  bar  alone  bears  any  reference  to 
Part  I.     It  modulates  to  the  key  of  B  flat  minor,  bar  26,  and  ends  on  a 
half -cadence  on  G — the  dominant  of  C  minor — in  which  key  the  return 
to  the  first  subject  is  made. 

Whether  this  passage  is  simply  a  link  or  is  of  sufficient  importance  to 
be  regarded  as  a  section  of  development  is  the  point  which  determines 
whether  the  form  of  the  movement  is  to  be  considered  as  in  abridged,  or 
unabridged  sonata-form,  a  point  on  which  authorities  differ. 

According  to  the  third  alternative  (see  Thematic  Scheme  h)  the 
passage  in  question  is  considered  as  an  intermediate  sentence  leading  to 
the  repetition  of  Part  I. 

(f)  At  its  return  the  opening  phrase  of  the  first  subject  is  heard  first 
in  the  key  of  C  minor  (the  dominant  minor),  after  which  the  subject, 
contracted  from  eight  bars  to  six,  appears  regularly  in  the  key  of  the  tonic. 

(g)  The  second  subject  reappears  slightly  lengthened  and  modified 
and  in  the  original  minor  instead  of  in  the  tonic  major.     This  change 
of  mode,  a  favourite  device  of  Mozart's,  gives  the  subject  a  new  and  very- 
beautiful  effect,  t 

THIRD  MOVEMENT. 

(a)  The  first  subject  is  a  sixteen-bar  sentence  in  four-bar  rhythm. 
After  the  half -cadence  in  the  tonic,  bar  8,  the  melody  is  repeated  an 

*  "Rhythm,  Analysis,  and  Musical  Form,"  T.  H.  Bertenshaw,  B.A.,  B.Mus. 
t  See  Sonata  VIII,  first  movement,  footnote  to  (j),  page  50. 


12  MOZART'S  PIANOFORTE  SONATAS. 

octave   lower,   the   final    phrase   being   altered   to   close   with   a   perfect 
cadence. 

(b)  The  transition  starts  on  a  tonic  pedal  in  F  major.     Bars  21-24 
repeat  the  foregoing  phrase  with  the  upper  parts  inverted.*     A  short  de- 
scending sequence  follows  (25-28),  varied  slightly  in  the  last  bar,  and 
modulating,  in  27,  to  C  major.     The  transition  ends,  bar  37,  on  a  cadence 
—several  times  repeated — on  G,  the  dominant  of  C  major,  in  which  key 
the  second  subject  appears. 

(c)  It  is  rather  unusual  for  a  second  subject  in  quick  movements  in 
sonata- form  to  contain  only  one  section— i.e.,  theme. t 

In. this  movement  the  subject  consists  of  one  sentence  in  which,  like 
in  the  first  subject,  the  second  part  (5O-661)  is  a  varied  repetition  of  the 
first;  here  it  is  also  lengthened  by  cadential  repetition  of  the  final  phrase. 
It  is  interesting  to  note  that  the  opening  two-bar  section  becomes,  on  re- 
petition, a  three-bar  section,  40-42^  And,  on  the  other  hand,  that  a  com- 
parison of  bars  463-49  with  59-62  proves  that  here  the  former  is  a  three- 
bar  phrase,  and  not  a  two-bar  section  lengthened  by  the  sequential  repeti- 
tion in  its  second  bar.  Another  point  to  notice  is  that  the  melody  in  bars 
50-53  is  accompanied  in  the  left  hand  by  an  imitation  a  tenth  below. 
Compare  the  semiquaver  passage,  bars  59-65,  with  that  in  bars  5-8. 

(d)  The  codetta  commences  with  a  figure  founded  on  the  opening 
notes  of  the  first  subject;  the  semiquaver  figures  also  may  be  traced  to 
those  occurring  earlier  in  the  exposition. 

(e)  The  free  fantasia  refers  alternately  to  the  opening  bars  of  the 
second  subject  and  to  a  passage   (burs   25-28)   from  the  transition.     It 
starts  in  the  key  of  C  minor  and  modulates  through  G  minor,  B   flat 
minor,  and  F  major  to  D  minor,  on  the  dominant  of  which  key  it  ends, 
bar   1 06.     This  exceptional:}:  ending  of  the  development  section — i.e.,  on 
the  dominant  harmony  in  the  key  of  the  relative  minor — is  a  most  inter- 


*  It  is  possible  to  consider  that  bars  17-24  form  a  part  of  the  first  subject ; 
in  that  case  they  would  form  a  codetta  to  the  subject,  though  codettas,  as  such,  are 
not  usually  marked  after  this  subject. 

f  See,  however,  the  first  movements,  Sonata  III,  in  B  flat,  and  Sonata  VII  in 
C  major. 

|  I.e.,  in  a  general  way  exceptional,  for  Mozart  seems  very  partial  to  this  method 
of  approaching  the  recapitulation.  In  the  slow  movement  of  Sonata  V  the  Free 
Fantasia  also  terminates,  as  here,  on  the  dominant  harmony  in  the  relative  minor 
key,  and  in  various  other  movements  (see  e.g.,  Sonata  it,  first  movement,  and 
Sonata  IV,  third  movement)  this  section  practically  ends  in  this  key,  modulating 
only  in  the  very  last  bar— or  even  chord — to  the  dominant  harmony  in  the  key  of  the 
tonic. 


SONATA  NO.   II.  13 

esting  point  to  notice,  for,  in  the  older  classical  music,  it  was  the  almost 
universal  practice  to  end  this  section  of  the  movement  on  the  dominant 
harmony  in  the  key  of  the  tonic.  Note  also  (i)  the  continual  inversion 
and  re-inversion  of  the  parts,  bars  90-106;  (ii)  the  chord  of  the  Neapolitan 
sixth,  bar  98;  and  (iii)  the  Italian  sixth,  bars  102  and  104. 

(f)  The  second  transition  starts  like  the  original  passage;  it  is,  how- 
ever, lengthened  by  four  bars  (136-139),  which  form  a  real  sequence  to 
the  previous  four.     The  latter  part  is  modified  to  lead  into  the  second 
subject  in  the  key  of  the  tonic. 

(g)  The  codetta  reappears  slightly  lengthened, 
(h)  See  (1)  first  movement,  page  9. 


SONATA  No.  Ill,  IN  B  FLAT  MAJOR  (K.  281),  (1777). 
THEMATIC  SCHEME. 


> — ^     - — -    i     <;  .    «^-^*^ 


three  movements. 


FIRST  MOVEMENT- 
EXPOSITION. 

"ALLEGRO,"  IN  B  FLAT 
Bars.        FREE   FANTASIA. 

MAJOR.     SONATA  FORM 
RECAPITULATION. 

'.. 
Bars. 

(a)*  First  Subject  in  Tonic, 
(b)  Bridge-p  a  s  s  a  g  e      or 
Transition, 
(c)  Second     Subject    in    F 
major  (Dominant), 
(d)  Codetta. 
Double  bar  and  repent. 

1-121 
12-1-171 

17-1-341 
34-1-40 

(e)  Bars  41—69. 

First  Subject  in  Tonic 
(  unaltered)  . 
Transition  (unaltered). 
(f)    Second      Subject      (in 
Tonic). 
Codetta. 

70-811 
81-1-861 

86-1-1031 
103-1-109 

SECOND  MOVEMENT—  "  ANDANTE,"   IN   E  FLAT  M 
fMODIFlED  SONATA 
EXPOSITION.                    Bars.                  LINK. 

AJOR  (KEY  OF  THE  SUBDOMINANT). 
FORM. 
RECAPITULATION.                Bars. 

(a)  First  Subject  in  Tonic, 
(b)  Bridge-p  a  .s  s  a  g  e      or 
Transition, 
(c)  Second  Subject  in  B  flat 
major  (Dominant), 
(d)  Double  bar  and  repeat. 

1-15 

16-27 

28-46 

(e)  Bars  47-58. 

(f)    First  Subject  in  Tonic 
(varied  in  first  half), 
(g)  Transition. 
Second    Subject    (in 
Tonic). 

59-73 

74-87 

88-106 

THIRD  MOVEMENT  —  (a)    "] 

o  C  (b)  Principal  Subject  (first  ( 
^  tn.-5  j           (c)  Bridge-passage  or  p 
(d)  Second  Subject  or  E 
*"  Si  &  /           (s)  Link 

^ONDO."     ALLEGRO  IN  B  FLAT  MAJOR. 

>ntrv>)  in  Tonic 

Bars. 

1-17 

18-27 
28-432 
43 
433-511 

52-67 
68-70 

assage  of  Transitio 
Episode  I  in  F  majc 

n 

r  (Dominant) 

-fc  tr4  {     (f)    Principal  Subject  (second  entry)  in  Toni< 
Double  bar. 
(g)  Episode  II  in  G  minor  (relative  minor),  Binary 
(  Part  I 

3,  Partial  appearance  only 

Form 

52-59) 

60-67  ( 

Doul 
Part  II      
Doul 
Hi)  Link    

le  bar  and  repeat. 

ne  bar  and  repeat.                                               } 

*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,   which  occur  in  the  subsequent 

text. 

t  Bertenshaw  considers  this  movement  to  be   in  Unabridged  Sonata  form. 


SONATA  NO.   III.  15 

Principal  Subject  (third  entry)   in  Tonic,  Complete  as  at  first,   to  which  is    ; 

added  a  half-bar's  link  modulating  to  the  key  of  E  flat  major    ...          ...       713— 891 

(j)   Episode  III       I    90-1092 

New  melody  in  E  flat  major  (key  of  the  Subdominant)  followed  by  a  pas-  j 

sage  modulating  back  to  original  key. 

Link    ... ' J1093-1142 

(k)  Principal  Subject   (fourth  entry)    in   Tonic,    Partial   appearance,   ending 

with  momentary  modulation  to  F  major         ...          ...          ...          ...          ...    |1143— 123 

Second  Subject  (or  Episode  I)  transposed  into  the  key  of  the  Tonic     ...      124—1401 

140-1422 

1423-162 


Link 


(1)    Principal  Subject  (fifth  entry)  in  Tonic.     Exact  repetition  of  the  original 
appearance  with  three  bars  added  to  emphasise  the  final  cadence 


FIRST   MOVEMENT. 

(a)  The  first  subject  is  an  eight-bar  sentence  ending  on  a  perfect 
cadence,  after  which  it  is  prolonged  by  a  further  four  bars  on  tonic  pedal. 

The  presence  of  a  tonic  pedal  over  which  there  are  momentary  sug- 
gestions of  the  subdominant  key,  is  so  often  incidental  to  a  codetta  as  to 
give  these  bars  the  effect  of  here  forming  a  codetta  to  the  first  subject.* 
It  will  be  noticed  that  the  perfect  cadence  with  which  the  first  phrase  of 
this  subject  ends  is  rendered  less  conclusive,  not  only  by  reason  of  the 
third  of  the  final  chord  being  in  the  highest  part,  but  also  because  of 
the  position  of  the  chord  on  a  weak  portion  of  the  bar. 

(b)  The  transition  consists  of  a  series  of  scale  passages,  those  in  bars 
12-14  forming  a  free  melodic  sequence. 

(c)  The  second  subject  contains  only  one  section!  (i.e.,  theme),  which 
is  much  prolonged  by   sectional  and  cadential  repetitions.     Bars  22-26 
form  a  short  sequence  in  which  the  parts  are  inverted  bar  by  bar.    Hadow 
marks  the  subject  as  commencing  with  the  first  beat  in  bar   18,  instead 
of  with  the  "musical  prefix"  in  17.+ 

(d)  The  codetta  incidentally  touches  the  key  of  B  flat  major  (the 
subdominant  key)  in  bars  34  and  36,  and  ends  on  a  short  tonic  pedal  in 
F  major,  bars  38-40. 

(e)  The  free  fantasia  commences  in  F  major  with  a  reference  to  the 
slurred  figures  in  the  second  subject,  the  accompaniment  being  a  varied 
continuation  of  that  heard  in  the  last  bars  of  the  codetta.     In  bars  45-48 
the  second  phrase  of  the  first  subject  is  transposed  into  the  same  key  and 


*  See  Sonata  VIII,  slow  movement  (e),  page  50. 

f  See  also  Sonata  II,  in  F  major,  third  movement,  and  Sonata  VII,  in  C  major, 
first  movement. 

I   "  Sonata  Form,"  by  W.  H.  Hadow. 


!6  MOZART'S  PIANOFORTE  SONATAS. 

followed  by  a  few  bars  worked  on  triplet  figures,  which,  touching  tran- 
siently the  keys  of  G  minor  and  C  major,  end  (in  54)  with  a  definite 
modulation  to  G  minor.  In  the  following  bars  we  find  references  to  the 
demisemiquaver  figures  from  bar  3,  and  to  further  fragments  from  the 
second  subject.  From  bar  55-63,  where  there  is  a  modulation  to  E  flat 
major,  the  music  oscillates  between  the  keys  of  G  minor  and  C  minor, 
returning  to  F  major  in  67-68.  The  final  chord  of  F  major  is  here 
quitted  as  the  dominant  of  B  flat  major. 

(f)  The  second  subject  reappears  in  the  key  of  the  tonic.  But  for 
this  change  of  key  the  whole  of  the  recapitulation  is  practically  a  literal 
repetition  of  the  exposition. 

For  a  long  period  such  repetition — more  or  less  exact — was  a  feature  in  sonata- 
form.  In  tracing  the  history  and  development  of  this  form,  therefore,  it  is  of 
interest  to  bear  this  in  mind  as,  owing  to  various  causes,  such  parallelism  in  modern 
music  has  become  unnecessary,  and,  in  consequence,  has  to  a  large  extent 
disappeared. 

SECOND   MOVEMENT. 

(a)  The  first  subject  is  a  sentence  of  twelve  bars,  containing  three 
phrases,  prolonged  to  bar  I  5  by  cadential  repetitions.     It  should  be  noted 
that  the  opening  scale  passage  in  thirds  in  the  treble,  is  imitated,  in  the 
bass,  by  the  passage  in  octaves  which,  overlapping,  covers,  together  with 
the  alto,  the  rhythmic  break  in  the  melody  caused  by  the  half -cadence 
on  the  prolonged  B  flat  (bars  4-5). 

(b)  The  transition  starts  with  a  new  figure  and  modulates,  bar  20, 
to  the  key  of  the  dominant,  B  flat  major,  on  a  half-cadence,  in  which  key 
it  ends  'bar  26).     Bar  27  forms  a  link  between  it  and  the  second  subject. 

(c)  The  second  subject  consists  of  one  sentence  extended  by  caden- 
tial repetitions  to  nineteen  bars.     In  the  fore-phrase  the  bass  imitates  the 
melody  at  the  tenth  below.     Bars   30-31    are  a  sequential  repetition  of 
28-29. 

(d)  See  foot-note  t  to  tabulated  scheme,  and  Sonata  I,  second  move- 
ment (f),  page  4. 

(e)  Bars  47-58  form  a  passage — mostly  on  B  flat,  the  dominant — 
leading  to  the  return  of  the  first  subject.     It  modulates  to  the  key  of  E 
flat  major  (bar  48)  and,  with  the  exception  of  bars  53-54,  consists  of 
alternate  tonic  and  dominant  harmonies;  it  is  based  on  figures  from  the 
second  subject. 

Bar  53  ==  E  flat  major,  ITj,9b;  and  bar  54  =  t>VIIt  6,  in  the  same 
key. 

(See  Sonata  II,  slow  movement,  c,  paragraph  2,  page  n.) 


SONATA  NO.   III.  I/ 

(f)  As  is  usually  the  case  in  slow  movements  in  this  form,  the  first 
subject    reappears    ornamented.     It    ends,    however,    unusually — the    re- 
peated chord  on  the  tonic  with  which  it  closes  in  the  exposition,  being 
replaced  here  by  the  repetition  of  the  last  inversion  of  the  dominant 
seventh  in  A  flat  major.     These  two  chords  are  thus  converted  into  a 
"link"  leading  into  the  transition  which  commences  in  the  above  key. 

(g)  The  transition  modulates  from  A  flat  major,  through  F  minor, 
to  E  flat  major  (the  tonic);  the  keys  of  A  flat  to  E  flat  bearing  the  same 
relation  to  each  other  as,  in  the  original  passage,  E  flat  major  bears  to  B 
flat  major. 

• 
THIRD    MOVEMENT. 

(a)  Mozart's  rondos  are  an  interesting  study,  as  in  them  is  clearly  to 
be  traced  the  gradual  growth  of  the  modern — or  sonata-rondo — form,* 
a  form  due  to  the  assimilation  of  the  older  and  simpler  type  of  rondo 
with  certain  characteristic  features  of  the  newer,  and  more  highly- 
wrought,  first-movement  form.  And,  as  a  result  of  this  very  process  of 
development,  many  of  the  rondos  combine  characteristic  features  from 
both  forms,  and  they  can  therefore  be  considered  from  two  distinct  stand- 
points. On  the  one  hand,  they  may  be  viewed  as  rondos  of  the  older 
type,  in  which  case  certain  unusual  features  will  be  found,  due  to  the  in- 
fluence of  the  newer  form.  On  the  other  hand,  they  may  be  regarded 
as  a  new  form  in  embryo,  and  in  this  case  certain  other  characteristics  of 
the  fully  developed  form  will  be  found  to  be  more  or  less  rudimental  or, 
in  some  respects,  wanting. 

In  this  particular  movement,  for  example,  the  first  part,  up  to  the 
end  of  the  second  entry  of  the  principal  subject  (bar  51),  resembles  that 
of  a  sonata-rondot  (see  Thematic  Scheme).  At  the  same  time,  however,  it 
should  be  observed  that  the  melody  in  F  major  (28-43),  though  it  reap- 
pears like  a  second  subject  at  the  end  of  the  movement  in  the  key  of  the 
tonic,  is  hardly  of  the  importance  to  give  the  impression  of  a  true  second 
subject.%  In  addition  to  this,  a  perfectly  regular  sonata-rondo  does  not 

*  The  type  of  rondo  which  Beethoven  perfected. 

f  The  partial  reappearance  of  the  principal  subject  at  its  first  re-entry  is,  how- 
ever, unusual  in  the  modern  type  of  rondo,  whereas  the  immediately  following 
episode  and  the  third  entry  of  the  principal  subject  are  typical  of  both  forms. 

I  In  reference  to  this  passage  Banister  says  :  "It  seems,  perhaps,  more  natural 
to  regard  that  which  I  have  designated  the  second  subject,  as  a  second  part  of  the 
first  subject;  it  may  be  said  that  there  is,  so  to  speak,  a  complete  little  movement  in 
the  original  key,  with  transient  tributory  modulation,  prior  to  the  occurrence  of  any 
episode  properly  so  called."  ("Lectures  on  Musical  Analysis,"  H.  C.  Banister.) 

3 


j  8  MOZART'S   PIANOFORTE   SONATAS. 

contain  three  episodes,  nor  five  entries  of  the  principal  subject;  the  epi- 
sode in  E  flat  major  (commencing  bar  90),  and  the  consequent  extra 
entry  of  the  principal  subject,  are  more  characteristic  of  the  older  rondo 
form.* 

(b)  The  principal  subject  consists  of  two  sentences,  of  which  the 
second  seems  to  form  a  series  of  cadence  extensions  to  the  first :  the  ex- 
tensions lying  outside,  or  beyond,  the  perfect  cadence.     The   opening 
motive  is  repeated  a  degree  lower,  the  first  two  bars  thus  being  in  se- 
quence.    The  second  phrase  (bars  43-81),  is  a  modified  repetition  of  the 
first,  altered  at  the  end  so  as  to  close  with  a  perfect,  instead  of  with  a 
half,  cadence. 

(c)  Bars   18-27  form  a  passage  of  transition  which  is  founded  on 
figures  from  the  latter  part  of  the  principal  subject.     This  passage  modu- 
lates, bar  22,  to  F  major  (the  dominant),  in  which  key  it  ends  on  a  half- 
cadence  (27).     A  half -bar's  link  leads  to  a  new  melody — the  second  sub- 
ject (or  first  episode)  in  the  above  key. 

(d)  The  eight  bars,  32-39*,  although  consisting  of  what  is  virtually 
a  four-bar  phrase  and  its  re-statement,  divides  actually  into  a  phrase  of 
three  bars — the  shortening  being  caused  by  the  first  bar  of  the  re-state- 
ment overlapping  the  original  phrase,  followed  by  one  of  five  bars,  the 
latter  being  prolonged  by  the  interpolation  of  a  bar,  viz.,  bar  37. 

That  the  phrases  do  overlap  in  bar  35,  in  spite  of  certain  appearances  to  the 
contrary,  seems  evident  and  for  the  following  reasons.  Bar  34  being,  undoubtedly, 
the  penultimate  bar  of  a  phrase,  and  therefore  unaccented,  proves  not  only  that  35  is 
the  fourth  and  cadence-bar  (for  no  accented  bar  can  be  elided),  but,  by  counting 
backwards  that  32  should  be  the  first  bar.f  But  for  the  purpose  of  rhythmic  analysis 
the  first  bar  of  a  phrase  is  that  which  contains  the  first  strong  accent — in  other 
words,  it  must  be  a  whole  bar.  Notwithstanding  therefore  the  general  rule  that,  for 
such  analysis,  the  melody  (i.e.,  the  treble)  of  a  musical  passage  is  alone  to  be  re- 
garded, it  seems  only  rational  in  this  instance — as  the  treble  in  bar  32  commences 
with  a  short  rest — to  assume  that  the  phrase  starts  in  this  bar  (and  therefore  simi- 
larly in  bar  35)  on  the  bass-note  A — i.e.,  on  the  only  note  that  sounds  the  first  strong 
accent.  And  more  especially  does  this  view  appear  the  correct  one,  as  the  previous 
phrase  undoubtedly  ends  with  the  last  treble  note  in  bar  31. 

Viewed  otherwise,  according  to  invariable  rule,  bar  32,  being  incomplete,  no 
matter  that  it  is  by  only  one  quaver — does  not  form  the  first  bar  of,  but  is  merely  a 
musical  prefix  to,  the  following  phrase. 

Another  interesting  point  to  notice  in  this  subject  is  that  the  cadence 
bars,  38-391,  are  a  repetition  in  the  key  of  the  dominant  of  those  in  the 
first  subject,  bars  7-81.  Such  repetition  had  its  origin  in  the  old  binary 

*  On  account  of  its  containing  three  subordinate  themes  (i.e.,  episodes)  Percy 
Goetschius  refers  to  this  movement  as  in  "irregular"  or  "augmented"  rondo 
form. 

t  See  "  Musical  Form,"  by  E.  Front. 


SONATA  NO.   III.  IQ 

form.  We  occasionally  meet  with  traces  of  a  similar  survival  in  the 
earlier  sonata-allegro  movements  of  Haydn  and  Mozart.  In  these  in- 
stances, however,  the  repetition  takes  place  at  the  commencement  of  the 
second  subject,  the  melody,  which  has  just  been  heard  in  the  key  of  the 
tonic  as  the  first  subject,  being  reproduced  (with  more  or  less  modifica- 
tion) in  the  key  of  the  dominant  to  form  the  -first  section  of  the  second 
subject.  This  repetition  only  affects  the  first  section,  however,  and  is 
always  followed  by  fresh  subject-matter,  which  forms  a  continuation  of 
the  second  subject. 

(e)  The  passage,  in  bar  43,  marked  "  ad  libitum,"  extending  from 
the  ^  to  the  two  crotchets  at  the  end,  forms  a  link  connecting  the  above 
melody  with  the  second  entry  of  the  principal  subject. 

(f)  At  its  first  re-entry,  a  portion  only  of  the  principal  subject — the 
first  eight  bars — is  heard.*     The  three  notes,  C,  C  sharp  and  D  (bar  51) 
form  a  link  leading  into  the  following  episode. 

(g)  This  episode  is  in  simple  binary  form  and  entirely  in  the  key  of 
G  minor. 

Part  I  ends  on  a  half -cadence,  approached  through  the  chord  of  the 
German  sixth  (bar  58).  Note  that  the  second  phrase  in  Part  II  is  a  repro- 
duction in  modified  form  of  the  second  phrase  in  Part  /,  altered  so  as  to 
close  on  a  full,  instead  of  on  a  half,  cadence. t  Note  also  the  inversion 
of  parts  in  bar  61. 

(h)  Bars  68-70  form  a  link  modulating  from  G  minor  to  B  flat  major, 
and  leading  to  the  second  re-entry  of  the  principal  subject. 

(j)  This  episode  starts  with  a  new  melody  in  E  flat  major  (the  sub- 
dominant),  in  which  key  there  is  a  perfect  cadence,  bar  101.  It  modu- 
lates afterwards  through  C  minor  (102-103),  B  flat  major  (104-105),  and 
E  flat  major  (106-108),  back  to  B  flat  major,  in  which  there  is  a  half- 
close,  bar  109.  A  link  follows  leading  to  the  fourth  entry  of  the  prin- 
cipal subject.  Note  that  bars  ioi3-iO51  form  a  real  sequence. 

(k)  As  at  the  second  entry,  this  is  only  a  partial  appearance  of  the 
principal  subject,  the  first  phrase  of  which,  slightly  modified,  is  given 
out  twice.  The  first  time  (bars  Ii43-ii8),  the  melody  is  taken  in  an  inner 
part  under  an  inverted  dominant  pedal ;  in  the  repetition,  which  immedi- 
ately follows  (ii93-i23),  with  the  previous  parts  inverted.  There  is 


*  See  footnote  f  to  a  (supra). 
f  See  Sonata  VIII,  third  movement,  footnote  ||  to  h. 


20  MOZART'S  PIANOFORTE  SONATAS. 

momentary  modulation  to  F  major  at  the  cadence.*  A  link  of  descending 
triplets,  instead  of  the  original  "transition,"  leads  directly  into  the  re- 
petition of  the  melody  in  Episode  I,  now  transposed  into  the  key  of  the 
tonic. 

(1)  As  above  stated,  the  fifth  entry  of  the  principal  subject — present 
i-n  this  movement  owing  to  the  extra  episode — is  unusual  in  sonata-rondo 
form,  the  fourth  entry  being,  as  a  rule,  the  final  one.  Even  this  is  more 
often  incomplete,  sometimes  only  a  phrase — or  still  less — -appears  and 
then  merges  into  the  coda.  And  where  tne  coda  is  founded  on  the  prin- 
cipal subject  the  fourth  entry,  as  such,  is  sometimes  omitted. 


*  Opinions  differ  as  to  whether  in  such  instances  as  this,  a  change  of  key  in  the 
passage  is  even  momentarily  effected.  The  general  rule  is,  that  whereas  no  single 
chord  can,  by  itself,  effect  a  modulation,  yet  that  whenever  the  dominant  harmony 
of  a  new  key  is  followed  by  some  chord  characteristic  of  such  new  key — generally  the 
chord  of  the  tonic — a  modulation  to  that  key  does  take  place.  Some,  therefore,  would 
mark  every  such  succession  as  a  fresh  modulation.  On  the  other  hand,  many  con- 
sider that  w.hen  it  is  a  question — as  in  this  instance — of  the  progression  V-I  in  the  key 
of  the  dominant  (or  in  that  of  the  sub-dominant1)  a  modulation  is  not  necessarily 
effected  if  the  passage  unmistakably  continues  in  the  same  key  as  immediately  pre- 
cedes these  chords.  These,  therefore,  would  mark  the  above  passage  as  a  half-cadence 
in  B  flat. 


SONATA  No.  IV,  IN  E  FLAT  MAJOR  (K.  282),  (i;;;). 
THEMATIC  SCHEME. 


Adagio 


I 

In  three  movements. 


FIRST  MOVEMENT— (a)*  "ADAGIO,"  IN  E  FLAT  MAJOR,     (b)  BINARY  FORM. 


PART  I. 

Bars. 

PART  II. 

Bars. 

16-26 

27-33 
34-36 

(c)  Melody  in  E  flat  major  (Tonic). 
[Modulating  by  means  of  a  pas- 
\  sage  resembling  a  "Bridge,"  or 
("Transition,"  passage  to 
(d)  Second  melody  in  B   flat  major 
(Dominant)            
(e)  Half-bar's  link     
Double   bar   and   repeat. 

1-4 

4-3-8 
9-153 

153-4 

(f) 

g 
1 
I 

(g)  c 

Slight     development     of     first 
melody  followed  by  the  modu- 
lating passage  modified  so   as 
to  lead  to  the  second  melody  in 
the  key  of  the  Tonic    ... 
iecond  melody  transposed  into 
3    flat    major    followed    by   the 
alf  -bar's  link 
Double   bar  and   repeat, 
oda             

SECOND    MOVEMENT— (a)    MENUETTOS    I    AND    II.      MINUET    AND    TRIO    FORM 

(TERNARY). 


PART  I. 

Bars. 

PART  II. 

Bars. 

PART  III. 

(b)  MENUETTO  I  IN  B  FLAT 

MENUETTO    II    IN    E    FLAT 

MAJOR. 

MAJOR. 

(c)  TERNARY  FORM. 

TERNARY  FORM. 

(d)  Part  i. 

(g)  Part  i. 

Sentence     in     B     flat 

(a)  8    bars    in    E    flat 

major    (Tonic)    modu- 

major (Tonic). 

To  82 

Menuetto  I 

lating     to     F      major 

(b)    8    bars   in    B    flat 

Da  Capo 

(Dominant). 

To  12 

major    (Dominant). 

83-16 

Double  bar  and  repeat. 

Double  bar  and  repeat. 

(e)  Part  ii. 

Part  ii. 

Passage        modulating 

Passage    containing 

back   to   B   flat  major 

slight     development 

163-241 

and  leading  to 

123-182 

leading  to 

(f)  Part  Hi. 

Part  Hi. 

Repetition    of    Part    i 

Repetition    of    Part    i 

entirely  in  B  flat  major 
(Tonic). 

183-32 

with  (a)  and  (b)  both  in 
the  key  of  the  Tonic. 

243-40 

Double  bar  and  repeat.! 

Double  bar  and  repeat. 

THIRD  MOVEMENT— "  ALLEGRO,"  IN  E  FLAT  MAJOR,  SONATA  FORM. 
EXPOSITION. 

(a)  First  Subject  in  Tonic. 

(b)  Bridge-p  a  s  s  a  g  e       or 
Transition. 


Bars. 

FREE   FANTASIA. 

RECAPITULATION. 

Bars. 

To  81 
8-2-15 

16-39 

(d)  Bars  39-2-61. 

First  Subject  in  Tonic 
(unaltered). 
Bridge-p  assage     or 
Transition   (transposed 
into    the    key    of    the 
Tonic), 
(e)  Second     Subject     in 
Tonic. 
(f  }  Double  bar  and  repeat. 

61-2-691 

69-2-76 
77-102 

(c)  Second  Subject  in  B 
flat  major  (Dominant). 
Double  bar  and  repeat. 

*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
test. 


22  MOZART'S   PIANOFORTE   SONATAS. 

FIRST   MOVEMENT. 

(a)  Of  Mozart's  pianoforte  sonatas  the  one  under  consideration  and 
No.  11,  in  A  major,  are  the  only  two  which  do  not  commence  with  the 
usual  quick  movement.*  According  to  Goodrich,  it  would  appear  that 
Mozart  was  the  first  to  vary  the  sonata  (i)  as,  in  this  instance,  by  writing 
the  opening  movement — and  not  merely  the  introduction — adagio, t  and 
(ii)  by  writing  it,  as  in  No.  n,  as  an  air  with  variations.  The  latter  is 
also  a  slow  movement  marked  "  Andante  grazioso." 

Though  not  one  of  Mozart's  pianoforte  sonatas  contains  more  than 
three  movements — the  four-movement  form  for  pianoforte  solo  being 
very  rare  before  the  time  of  Beethoven* — Prout's  remark  on  the  latter's 
Sonata  in  C  sharp  minor,  Op.  27,  No.  2,  viz.,  "  that  it  resembles  a  regular 
four-movement  sonata  with  the  first  movement  omitted,"  §  is  curiously  ap- 
plicable to  this  sonata,  the  two  works,  as  regards  sequence  of  movements, 
being  also  of  very  similar  construction.  Compare  the  following  : 


First  movement 


Sonata  in  E   flat   major  Sonata,  Op.  27,  No.  2, 

Mozart.  Beethoven 


Adagio 


Second  movement  jMenuettos  I  and  II 

Third  movement  j  Allegro  in  sonata-form. 


Adagio. 

Allegretto    (in    the    form    of    a 

Minuet  and  Trio). 
Presto  in  sonata-form. 


(b)  The  form  of  this  movement  is  not  of  very  definite  design  and, 
as  a  natural  consequence,  we  find  that  authorities  differ  as  to  the  view 
they  take  of  it.  We  analyse  it  here  as  in  a  species  of  binary  form,  for, 
whilst  the  general  outline  of  the  greater  part  of  the  movement  resembles 
that  of  sonata-form,  some  authorities  do  not  classify  it  as  such — even  of 
a  modified  description— owing  to  the  unusual  nature  of  the  first  portion 
of  Part  II.II 


*  It  is  well  to  point  out  here  that  Sonata  No  XIV"  (in  C  minor)  is  no  exception 
to  the  rule.  For  the  Fantasia  (No.  475  in  Kochel's  Catalogue)  which  is  usually  pub- 
lished in  connection  with,  and  preceding  Sonata  XIV,  and  which  starts  adagio,  is 
not  part  of  the  sonata  itself,  the  latter  commencing  with  the  regular  sonata-allegro 
movement. 

t  Goodrich  considers  this  "  Adagio  "  to  be  in  sonata  form  (see  supra  b).  "  Com- 
plete Musical  Analysis,"  by  A.  J.  Goodrich. 

|  Hadow  remarks  that:  "  Before  Beethoven  it  seems  to  have  been,  a  convention 
that  the  '  modern '  sonata  should  consist  of  three  movements  (Allegro,  Adagio  or 
Minuet  and  Finale),  and  that  the  symphony  and  the  larger  kinds  of  chamber  music 
should  consist  of  four." 

§    "  Applied  Forms,"  by  E.  Front. 

||  Banister  applies  the  phrase,  "somewhat  extended  song-form,"  to  the  move- 
ment. (See  "Lectures  on  Musical  Analysis.") 


SONATA  NO.    IV.  23 

On  the  other  hand,  Goodrich  considers  it  to  be  in  sonata-form  and 
accounts  for  the  entire  absence  of  the  first  subject  in  the  recapitulation 
by  the  fact  that  this  subject  has  already  been  developed  in  the  "sonata 
part." 

(c)  There  is  a  perfect  cadence  in  the  tonic,  bars  3-4,  after  which  the 
following  bars  modulate  and  end  on  an  inverted  cadence  on  F — quitted 
as  the  dominant  in  B  flat  major. 

(d)  This  melody  forms  a  regular  second  subject  in  the  key  of  the 
dominant.     There  is  an  interrupted  cadence,  bar  13,  after  which  the  pre- 
vious two  bars  are  repeated  varied,  ending  the  second  time  with  a  perfect 
cadence,  bar  15. 

(e)  The  link  modulates  back  to  the  key  of  E  flat  major  and  leads 
(i)  to  the  repetition  of  Part  I,  and  (ii)  to  Part  II. 

(f)  Part  II  opens  with  a  slight  development  of  the  first  melody.    The 
demisemiquaver  figures  (bars  20-21)  are  taken  from  those  in  the  second 
melody,  as  also,  by  augmentation,  are  the  semiquaver  figures  in  the  pre- 
vious two  bars.     The  inversion  and  re-inversion  of  the  parts,  bars  18-20, 
should  be  noted.     The  remainder  of  Part  II  (i.e.,  from  bar  22  to  the  coda) 
is  a  repetition  of  the  corresponding  portion  of  Part  I,  with  slight  varia- 
tions and,  of  course,  the  usual  modification  of  key. 

(g)  Part  II  is  repeated.     The  short  coda  which  follows  the  double 
bar  and  repeat,*  is  reminiscent  of  the  opening  bars  of  the  movement. 

SECOND   MOVEMENT. 

(a)  The  second  minuet  is  very  often  called  the  "Trio."t  Only  one 
other  of  Mozart's  pianoforte  sonatas  (viz.,  No.  XI,  in  A  major)  contains 
a  minuet  and  trio.}  The  Sonata  in  B  flat  major,  commencing 


which  is  found  in  many  editions  of  Mozart's  sonatas,  and  which  also  con- 
tains a  minuet  and  trio,  is  not  an  original  work.  See  Sonata  XX,  third 
movement  (a),  page  164. 

*  See  Sonata  V,  slow  movement,  k,  par.  ii,  page  30. 

t  Percy  Goetschius  is  of  the  opinion  that  the  use  of  the  term  "Menuetto  II" 
probably  antedates  that  of  the  word  Trio.  He  quotes  as  an  example  Bach's  use  of 
the  term  Bourree  I  and  II  in  his  second  English  Suite. 

J  It  is  of  interest  to  note  here  that  the  second  movement  of  Sonata  X  (the  slow 
movement)  is  written  in  minuet  and  trio  form. 


24  MOZART'S  PIANOFORTE  SONATAS. 

Of  the  four  movements  in  this  last-named  composition,  the  origin 
of  two  is  unknown,  whilst  of  the  Andante  and  Rondo,  the  former  is  an 
arrangement  of  a  movement  out  of  a  pianoforte  Concerto  in  B  flat  major 
by  Mozart,  and  the  latter  is  an  adaptation  from  three  of  his  rondos  taken 
from  as  many  pianoforte  concertos  in  the  same  key.* 

(b)  Menuetto  I  is  in  the  key  of  the  dominant,  and  No.  2  (the  trio)  in 
the  key  of  the  tonic.     More  usually  the  first  minuet  is  in  the  same  key  as 
the. first  movement,  and  the  "  trio  "  in  a  related  key.     This  is  specially  the 
case  in  four-movement  sonatas  where  the  "minuet  and  trio"  generally 
come  third  with  an  intervening  slow  movement  in  a  related  key. 

(c)  Leading  musicians  are  not  agreed  as   to  whether   the  form   in 
which  these  minuets  t  are  written  is  binary  or  ternary.     Until  compara- 
tively recent  times  the  former  opinion  seems  to  have  been  almost  uni- 
versal, but  of  later  years  most  authorities  agree  in  favouring  the  latter. 
According  to  the  older  theory,  the  whole  of  the  portion  of  music  between 
the  two  sets  of  double  bars — -in  Menuetto  I  from  bar  i23-32,  and  in  Menu- 
etto II  from  bar  i63~4O — is  reckoned  as  Part  II ;  according  to  the  newer,  as 
here  analysed,  as  Parts  II  and  III. 

For  a  thorough  study  of  this  most  interesting  point  the  author  refers 
students  to  the  following  list  of  works  as  an  adequate  discussion  on  the 
subject  would  be  far  beyond  the  scope  of  the  present  one.  Moreover, 
this  course  would  necessitate  liberal  quotations  from  the  various  books 
mentioned,  and  in  the  end  would  not  be  nearly  so  satisfying  to  students, 
nor  so  satisfactory,  as  by  reading  them  fully — and  with  all  their  context 
—in  the  originals.  Appended  is  the  list : 

"  Musical  Form,"  Ebenezer  Prout.J 

"  Applied  Forms,"  Ebenezer  Prout. 

"Rhythm,  Analysis  and  Musical  Form,"  T.  H.  Bertenshaw. 

"  Sonata  Form,"  W.  H.  Hadow. 

"  Form  in  Music,"  Stewart  Macpherson. 

(d)  Part  I  is  an  eight-bar  sentence  extended  to  twelve  bars  by  repeti- 
tions in  the  second  phrase.     The  first  phrase  ends  on  an  inverted  cadence 
in  the  tonic,  bar  4,  the  second  on  a  perfect  cadence  in  the  dominant. 

*  Herr  Gustav  Nottebohm  attributes  these  arrangements  to  Herr  A.  E.  Miiller. 
See  Kochel's  "Thematic  Catalogue." 

t  And  all  such  pieces  of  similar  construction. 

|  This  list  merely  mentions  a  few  of  the  important  books  on  the  subject,  and  is 
by  no  means  given  as  an  exhaustive  one.  Nevertheless  a  careful  study  of  these  works 
in  conjunction  with  numerous  musical  examples  from  the  old  classical  composers 
should  enable  a  student  to  obtain  a  thorough  grasp  of  the  subject. 


SONATA  NO.   IV.  25 

(e)  Part  II  is  a  passage  of  six  bars  starting  chromatically  and  modu- 
lating to  the  key  of  B  flat  major,  in  which  it  ends  on  a  half-cadence, 
bar   1 8. 

(f)  Note  the  inversion  of  the  parts  in  the  opening  phrase  (bars  iS3- 
22);  compare  with  the  opening  phrase  in  Part  I.     The  after-phrase  is 
slightly  lengthened,  and  modified  so  as  to  end  in  the  key  of  the  tonic  in- 
stead of  the  dominant. 

(g)  As  regards  its  form,  the  special  point  to  notice  in  Menuetto  II 
is  the  division  of  Part  I  into  two  distinct  portions,  a  in  the  tonic,  modula- 
ting to  the  dominant,  and  b  in  the  key  of  the  dominant,  both  a  and  b  re- 
appearing in  Part  III  in  the  key  of  the  tonic.     This  dividing  of  Part  I 
is  one  of  the  features  which  marks  the  gradual  evolution  of  the  larger 
sonata-form  out  of  the  older  and  smaller  forms.     In  this  instance  the 
melody  in  b  grows  directly  out  of  that  in  a\  a  most  interesting  example 
of  another  and  still  further  step  in  advance  is  shown  in  the  before-men- 
tioned minuet  in  A  major  (Sonata  XI).     In  the  latter  case,  combined  with 
the  division  of  Part  I  into  the  two  portions  a  and  b,  is  to  be  found  in 
embryo  the  "contrast  of  melody  between  the  two  subjects"  so  essential 
an  element  in  the  larger  form. 


THIRD   MOVEMENT. 

(a)  The  first  subject  consists  of  two  four-bar  phrases;  it  ends  on  a 
half -cadence  in  the  tonic. 

(b)  The  transition  modulates  into  the  key  of  B  flat  major  (the  dom- 
inant), in  which  it  ends  on  a  half  cadence,  bar  I51;  a  half-bar's  link  leads 
into  the  second  subject. 

(c)  The   second    subject   consists   of    an   eight-bar   sentence    (16-23) 
which  is  repeated,  bars  24-39,  this  time  being  varied  and  considerably 
lengthened  by  cadential  repetitions.     It  should  be  noted  that  in  bars  30- 
31,  an  interrupted  cadence  replaces  the  original  perfect  cadence,  and  leads 
to  the  following  cadential  repetitions. 

(d)  The  free  fantasia  refers  to  the  first  subject.     Bars  43~2-4/2,  start- 
ing with  the  chord  of  A  flat  minor  and  modulating  to  E  flat  major,  are 
in  sequence  to  the  previous  four  bars  in  B  flat  minor  and  F  minor.     Note 
the  inversion  of  parts  in  the  following  eight  bars  (47~2552),  which  are 
worked  on  the  opening  motive  and  which,  passing  through  the  keys  of 
A  flat  major  and  B  flat  minor  to  C  minor,  form  a  modulating  sequence. 
Note  also  the  chord  C  minor  VI, It  6,  bar  59      The  music  returns  to  the 


26  MOZART'S  PIANOFORTE  SONATAS. 

key  of  the  tonic  in  the  last  bar  of  the  section  only*  (61),  where  the  chord 
of  the  dominant  in  C  minor  (relative  minor)  resolves  on  to  an  inversion 
of  the  dominant  seventh  in  E  flat  major. 

(e)  There  is  no  coda;  two  extra  bars  are  added  at  the  end  of  the 
second  subject  to  emphasise  the  final  cadence. 

(f)  See  Sonata  II,  first  movement  (1),  page  9. 


*  See  Sonata  II,  first  movement ;  cf .   also  the  third  movement  of  the  same  sonata  ; 
and  Sonata  V,  second  movement. 


A  llegro 


SONATA  No.  V,  IN  G  MAJOR  (K.  283),  (i;;;> 
THEMATIC  SCHEME. 


f-f--£=5Ttl=L_*  ^           ,  |-^=  t—  f-ri^  ~~j^ 

4       ,      ^1  17 

)      - 

(to«-i=E; 

-    --     .     j  «-       —  «--l  1  —  -  —  |  -     e 

;~rf=£SfeF-^ 

•-P- 

Z/<  three  movements. 

FIRST  MOVEMEI 
EXPOSITION. 

W—  "  ALLEGRO,"  IN  G  MAJOR.     SONATA  FORM. 
Bars.               PART  II.                      RECAPITULATION. 

Bars. 

(a)*   First  Subject  in  Tonic. 

(b)  Bridge-passage      or 
Transition, 
(c)  Second    Subject    in    D 
major  (Dominant), 
(d)    (First    §f    23-431.) 
(e)   1  Second    §   43-1-53.  j 
Double  bar  and  repeat. 

To  161  (f)  Episode  ** 
1  /New          Melody 
['54-62. 
16-2—22    1  Passage      modu- 
|  lating   and  lead- 
23—53      ing  to  Recapitu- 
j   Mation,  62-71. 

(g)  First  Subject  in  Tonic 
(modified).                        \   713-831 
Bridge-passage     (unal- 
tered),                              i  832-89 
Second      Subject      (in! 
Tonic).                               j    90-120 
(First  §   90-1101.      ) 
1  Second  §  110-1-120.  J 

SECOND  MOVEMENT  — 
EXPOSITION. 

"  ANDANTE,"  IN  C  MAJOR  (KEY  OF  THE  SUBDOMINAN 
(a)  SONATA  FORM. 
Bars.        FREE   FANTASIA.  ;            RECAPITULATION. 

T). 
Bars. 

(b)  First  Subject  in  Tonic, 
(c)  Bridge-passage      or 
Transition, 
(d)  Second    Subject    in    G 
major  (Dominant). 
Link, 
(e)  Double  bar  and  repeat. 

1-4 

5-8 

9-14 
143-4 

(g)  First  Subject  in  Tonic, 
(h)  Bridge-p  a  s  s  a  ge       or 
(f)  Bars  15-23.                 Transition. 
Second     Subject     in 
Tonic, 
(j)    Double  bar  and  repeat. 
;(k)  Coda. 

24-27 
28-31 
32-37 
37o.-39 

THIRD  MOVEME 
EXPOSITION. 

NT—  "PR 

Bars. 

ESTO,"  IN  G  MA 
PART  II. 

JOR.     SONATA  FORM. 
!           RECAPITULATION. 

Bars. 

(a)  First  Subject  in  Tonic. 

(b)  Bridge-p  assage      or 
Transition, 
(c)  Second    Subject    in    D 
major  (Dominant)., 
(d)  rFirst  §  41-561.      } 
fe^l   ]  Second  §  562-731.  \ 
(f)    (  Third  §  733-102.   J 

Double  bar  and  repeat. 

1-24 

25-40 
41-102 

(g)  Episode. 

New  melody,  bars 
103-1381. 
Concluding      bars 
of  the  Exposition 
taken  in  E  minor. 
D    minor    and    C 
major,  1383-1471. 
Episodical        pas- 
sage    leading     to 
Recapitulation, 
1473-170. 

First  Subject  in  Tonic 
(unaltered). 
Bridge-passage     (unal- 
tered) . 
Second     Subject    in 
Tonic. 
(First  §  212-2271.       } 
\  Second  §  2272-2441.  ! 
[Third  §  2443-273.     J 

(h)  Double  bar  and  repeat, 
(j)    Coda. 

172-195 
196-211 
212-273 

274 

text. 


These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 


t  The  symbol   §  is  here  employed  to  denote  a  section  of  a  subject. 
**  See  footnote  **  to  Thematic  Scheme,   Sonata  VIII,  page  46. 


28  MOZART'S  PIANOFORTE  SONATAS. 

FIRST  MOVEMENT. 

(a)  The  first  subject  is  a  theme  of  ten  bars  (4  +  6),  extended  to  six- 
teen by  repetition  of  the  second  phrase.     It  ends  with  a  perfect  cadence 
in  the  tonic. 

(b)  The  transition  forms  an  ascending  sequence,  the  latter  part  of 
which  is  written  on  an  amplified  variation  of  the  initial  figure.     It  modu- 
lates through  C  major  and  G  major  to  D  major,  the  dominant. 

(c)  The  second  subject  in  D  major  divides  into  two  sections. 

(d)  The  first  section  commences  with  a  four-bar  phrase  which  is  re- 
peated varied  (27-30).     In  the  latter  part  of  the  section,  however,  the  pro- 
portion of  the  sentence  which  is  repeated  is  more  unusual,  for,  after  a 
full  cadence  in  D  major,  bars  37-38,  we  find  five  out  of  the  previous  seven 
bars  given  out  a  second  time. 

In  bar  342-3  (repeated  3Q2"3)  the  inversion  of  the  previous  parts  should 
be  noted,  as  also  the  third  and  fifth  chords  which  are  the  third  inversion 
of  the  dominant  minor  ninth  in  A  major  and  G  major  respectively, 
through  which  keys  the  music  momentarily  passes.* 

(e)  The  second  section  (bars  43"1~53)  commences  with  the  opening 
figure  of  the  transition  taken  in  the  treble  with  imitation,  at  the  fourth 
(eleventh)  below,  in  the  bass.     Bars  45-46  are  founded  on  the  opening 
bars  of  the  first  section  of  the  subject  (compare  with  bars  23-24);  bars 
48-50  form  a  varied  repetition  of  45-47.     The  section  ends  with  a  per- 
fect cadence,  twice  repeated,  over  a  short  tonic  pedal. t 

(f)  In  this  movement  a  short  episode  which  bears  slightly,  but  only 
slightly,  upon  the  exposition,  takes  the  place  of  the  customary  working- 
out  section. 

Such  episodes,  as  a  general  rule,  are  rare,  but  they  are  to  be  found  in  various 
other  sonata-allagro  movements  by  Mozart. \  With  reference  to  them  Hadow  re- 
marks that  they  belong  exclusively  to  the  earlier  period  of  the  Free  Fantasia,  §  He 
continues:  "  Even  where  they  occur— e.g.,  in  Mozart's  Sonata  in  Gr  (No.  5)  the  epi- 
sode generally  bears  some  sort  of  relation  to  the  Exposition— i.e.,  it  is  not  a  new 
idea  altogether,  but  one  which  bears  resemblance,  however  remote,  to  the  phrase- 
ology of  the  first  or  second  subject." 

*  Cf.  Sonata  IX,  second  movement,  footnote  *  to  (d),  page  59. 

iiQ1t^idle^^r?n^ce  marks  ba.rs  51'53    as   "Coda"   to  the  exposition,  and   bars 
Prenti^  T  t0  entire  movement.      (See    "The   Musician,"    by   Ridley 

I  See  also  last  movement  of  this  sonata  ;  Sonate  VI,  in  D  major,  first  movement ; 
feonata  \,  in  C  major,  last  movement ;  and  Sonata  XII,  first  and  third  movements. 
§   Cf.  Sonata  I,  first  movement  (g),  paragraph  ii. 


SONATA   NO.   V.  2Q 

The  passage  on  D,  bars  62-681,  over  which  a  descending  sequence  is 
written,  should  be  noted.  It  starts  as  the  tonic  in  D  major,  but  a  modu- 
lation to  G  major  (bar  63)  converts  it  into  the  dominant  in  the  latter  key. 
Characteristic  figures  oh  dominant  harmony  lead  to  the  recapitulation  of 
the  first  subject,  bar  /I3. 

(g)  The  first  subject  reappears  modified.  After  the  first  phrase  has 
been  heard  in  its  original  key  it  is  immediately  repeated  in  A  minor  (753- 
79),  the  first  eight  bars  of  the  subject  thus  forming  a  modulating  sequence. 
The  after-phrase,  in  the  key  of  C  major,  also  differs  from  the  original. 
Again,  it  should  be  noted  that  whilst,  in  the  exposition,  the  second  phrase 
alone  is  repeated,  here  the  first  phrase  occurs  twice  and  the  second  only 
once. 

SECOND   MOVEMENT. 

(a)  See  Sonata  I,  second  movement  (a),  page  4. 

(b)  The  first  subject  ends  with  a  perfect  cadence,  bar  4,  and,  as  here 
written,  is  in  two-bar  rhythm.     The  movement,  however,  is  not  really  in 
*,  but  in  |  time,  consequently  the  first  subject  is  virtually  an  eight-bar 
sentence  containing  two  four-bar  phrases. 

(c)  In  bar  6  the  transition  modulates  to  G  major  (the  dominant),  in 
which  key  it  ends  on  a  half -cadence,  bar  8. 

(d)  The  special  point  to  notice  in  this  subject  is  in  the  responsive 
phrase  (11-14)  and  arises  from  the  fact  that  the  movement  is  barred,  as 
above  mentioned,  in  |,  instead  of  in  £  time.     The  passage  here  written 
as  bars  n-123  is  immediately  repeated  overlapping  from  bar  I23-I4,  and 
thus  apparently  causes  inversion  of  the  accents.     That  the  inversion  is 
only  apparent  and  not  real  will  be  conclusively  proved  by  re-writing  the 
movement  in  J  time,  when  the  first  notes,  both  of  the  original  phrase  and 
of  its  repetition,  will  fall  on  the  strong  accent  of  the  bar.     Not  only  is  this 
the  case,  but  the  so-called   " elision"  of  the  cadence-bar,  which   occurs 
between  the  two  phrases,  will  also  become  evident;  for  the  second  half 
of  bar  12,  instead  of  forming  the  final  and  accented  bar  of  the  original 
phrase  becomes  the  first  unaccented  bar  of  the  repetition.*     A  link  on 
dominant  harmony,  C  major  Vpb  (bar  14),  leads  to  the  repetition  of  the 
exposition,  and  a  very  similar  one  in  D  minor  (bar  I4a)  leads  to  the  free 
fantasia. 

(e)  See  Sonata  I,  second  movement  (f),  page  4. 

*  See  Sonata  VII,  first  movement  (b),  paragraph  ii,  page  42. 


30  MOZART'S  PIANOFORTE  SONATAS. 

(f)  The  free  fantasia  refers  chiefly  to  the  first  subject.  It  com- 
mences in  D  minor  with  a  repetition  of  the  foregoing  link,  followed  by 
a  variation  on  it  which,  taken  first  in  the  bass  and  then  repeated  in  the 
treble,  leads  to  the  opening  phrase  of  the  first  subject.  This  is  given 
successively,  curtailed  at  each  repetition,  in  the  keys  of  (i)  D  minor — 
with  modulation  at  the  close  to  C  major;  (ii)  in  C  major,  ending  on  an  in- 
version of  the  dominant  ninth  in  A  minor ;  and  (iii)  in  A  minor — in  this 
instance  with  inversion  of  parts.  After  slight  working  of  one  of  the 
figures  inverted,  the  section  closes  with  a  thrice  repeated  half -cadence  in 
the  last-named  key — the  relative  minor  to  the  tonic* — formed  of  the 
chord  of  the  dominant  preceded  by  that  of  the  augmented  sixth.  A 
chromatic  run  follows  which  leads  into  the  recapitulation. 

(g  and  h)  The  first  subject,  otherwise  unaltered,  is  modified  in  the 
last  bar  and  ends  on  the  dominant  seventh  in  F  major,  in  which  key  the 
transition  commences.  The  latter  passage,  starting  in  F  major  and 
modulating  to  C  major,  thus  corresponds  with  the  original  one,  which 
commences  in  C  major  and  modulates  to  G  major. 

(j)  The  remarks  made  at  (1),  (Sonata  II,  first  movement)  are  also 
applicable  in  the  rare  instances  in  which,  as  here,  the  second  part  of  a 
slow  movement  in  sonata-form  is  marked  to  be  repeated. 

(k)  The  coda  reiterates  with  varied  harmony  the  opening  phrase  of 
the  first  subject,  or,  as  Banister  quaintly  remarks,  it  takes  "a  last  fond 
look  at  the  subject." t  It  starts  in  the  previous  bar  with  the  figure  in  demi- 
semiquavers  from  bar  fourteen.  Commencing  in  the  bass,  this  figure  is 
repeated  sequentially,  with  imitation  in  the  treble  starting  a  beat  later. 
Note  that  the  first  half  of  bar  38  forms  the  chromatic  chord,  C  major, 
II;C. 

This  is  an  example  of  the  original  purpose  of  the  Coda,  which,  at  first,  was  only 
employed  in  movements  where  the  Free  Fantasia  and  the  Recapitulation  were  re- 
peated. The  close  of  the  movement  being  in  itself  practically  a  repetition  of  the 
close  of  the  twice-heard  exposition  (of  course  transposed  into  the  tonic  key)  it  was 
felt  that  this  fourth  hearing  of  the  same  melody  was  sometimes  hardly  sufficiently 
striking  to  act  as  the  climax  to  the  entire  movement,  and  so  a  few  bars  were  added 
?;t  the  end  of  the  Recapitulation,  as  in  this  instance,  after  the  double  bar  and  repeat 
marks.  In  the  finale  to  this  sonata  we  find  an  instance  of  the  simplest  form  of  such 
a  coda  occurring  at  the  end  of  a  quick  movement,  and  for  a  more  important  example 
see  the  first  movement,  "Allegro  molto,"  of  Sonata  XIV,  in  C  minor. 


*  See  Sonata  II,  third  movement  (e)  and  the  footnote  to  same,  page  12. 
t   See   "Lectures  on   Musical  Analysis." 


SONATA  NO.   V.  31 

THIRD    MOVEMENT. 

(a)  The  first  subject  enters  on  a  tonic  pedal  over  which  the  first  two 
phrases  are  written.     For  sixteen  bars  it  is  in  four-bar  rhythm,  but  the 
passage  of  eight  bars  which  follows  the  inverted  cadence  in  15-16,  does 
not  admit  of  being  similarly  sub-divided.    In  bars  13-16,  the  semiquaver 
figures  which  have  previously .  been  heard  in  the  treble  (9-12)  are  trans- 
ferred to  the  bass,  as  also,  in  bars  18-24,  are  the  slurred  quaver  figures 
which  occurred  in  the  treble  (bars  13-16). 

(b)  The  transition  is  founded  principally  on  figures  derived  from 
the  first  subject  and,  as  in  the  latter,  the  first  eight  bars  are  written  over  a 
pedal.     The  music  alternates  between  the  keys  of  C  major  and  G  major, 
modulating  only,  in  bar  38,  to  D  major,  the  dominant,  in  which  key  it 
ends  on  an  inverted  cadence. 

Note  that,  during  the  pedal,  the  semiquaver  figure  in  the  bass  is  each 
time  answered  in  the  following  bar  by  a  semiquaver  figure  in  the  treble. 

(c)  The  second  subject  is  divisible  into  three  sections,  each  of  which 
ends    with    a  perfect  cadence  in  D    major  (the   key  of    the    dominant). 
Although  the  passage  from  bar  562-64  is  clearly  developed   from  bars 
482-5<D1  and,  on  that  account,  may  by  some  analysers  be  regarded  as  a  con- 
tinuation of  the  first  section,  owing  to  its  fresh  treatment  it  has  such  a 
distinct  character  of  its  own  that  it  is  here  considered  as  starting  a  new, 
and  second  section. 

(d)  The  first  section,  sixteen    bars    in    length,  is   founded    on    two 
figures  :  (a)  the  repeated  triplet,  bars  41-42;  and  (b)  the  small  figure  from 
bars  453-461.     The  first  eight  bars  end  on  a  half-cadence  (481),  whilst  the 
second  half  of  the  section,  otherwise  a  rhythmical  repetition  of  the  first, 
is  lengthened  by  prefixing  a  new — and  what  proves  to  be  an  important — 
figure  of  two  beats  to  the  original  opening  motive. 

(e)  The  commencement  of  this  section  (bars  562-64J)  is  specially  note- 
worthy.   It  is  developed  from  the  opening  bars  of  the  second  portion  of 
the  previous  section,  viz.,  482-5O1  (see  d).     The  figures  instead  of,  as  ori- 
ginally, being  in  one  voice  are  here  divided  between  the  parts.     Bars  562- 
581  in  D  major  are,  in  582-6o1,  repeated  by  inversion  in  B  minor  and  as  the 
four  bars  under  consideration  are  then  reproduced  in  the  keys  of  G  major 
and  E  minor  the  whole  passage  forms  a  real  sequence.*    Bars  65-68  form 
the  first  inversion  of  the  chromatic  chord  V\)g  in  D  major. 


*  See  Sonata  XI,  Finale,  footnote  to  (c),  page  76 


32  MOZART'S  PIANOFORTE  SONATAS. 

(f)  The  first  part  of  the  third  section  is  founded  mainly  on  a  new 
figure  with  which  it  commences  and  which  modulates  transiently  to  B 
minor.     Bars  76-78  are  accompanied  chromatically,  three  of  the  chords* 
being  successively  the  second  inversion  of  a  diminished  triad,  a  dimin- 
ished triad  itself,  and  then  a  repetition  of  a  second  inversion;  the  latter 
form,  twice  met  with  here,  is  of  very  rare  occurrence.     After  a  perfect 
cadence  in  D  major  (80-8 1)  the  sentence  is  repeated  inverted,  and  con- 
siderably lengthened,  (i)  by  the  interpolation  of  several  bars,  and  (ii)  by 
cadential  extensions. t 

Bars  89-92  are  taken  from  the  previous  section,  the  first  two  bars 
with  inversion  of  the  parts. 

(g)  The  second  part  of  this  movement  consists  principally   of   an 
episode  in  which,  however,  there  are  references  to  both  subjects.*     It  starts 
in  D  minor,  and  modulates  through  A  minor  to  E  minor,  in  which  key 
the  greater  portion  of  the  episode  is  written.     Bars  111-122,  in  the  keys 
of  A  minor  and  E  minor,  are  founded  on  the  previous  eight  bars  which 
are  in  D  minor  and  A  minor.     A  dominant  pedal  (123-131)  follows,  the 
parts  being  inverted  from  bar  127.     The  rhythm  of  this  passage  is  de- 
rived from  bars  13-16,  in  the  first  subject,  whilst  the  following  bars,  as 
far  as  the  full  cadence  in  E  minor  (138),  are  taken  from  the  second  sec- 
tion of  the  second  subject.    In  I383-I47,  the  concluding  bars  of  the  second 
subject  are  heard  in  E  minor,  and  are  then  followed  by  a  short  modula- 
ting sequence  formed  on  their  final  four  notes.     In  the  ensuing  passage, 
with  which  this  portion  of  the  movement  closes,  rhythms  suggested  by  the 
different  sections  of  the  second   subject  are  variously  combined,  some- 
times with  inversion  of  parts.     The  passage  ends  with  a  chromat-c  run 
following    on    a    half    cadence,  VIIt-6,V,  in  G  minor  (the  tonic  minor). 
Bars   119-121,  and   134-135,  form  the  chord  of  the  German  sixth  in  E 
minor. 

(h)  See  Sonata  II,  first  movement  (1),  page  9. 

(j)  Mozart  himself  marks  these  two  chords  "  Coda."     See  (k)  in  the 
previous  movement. 


*  Equivalent  here  to  derivatives,  or  incomplete  inversions,  of  Dominant  Sevenths 
as  they  are  variously  described  hy  different  authorities.  Compare  these  bars  with 
bars  84-86,  in  which  the  parts  are  inverted. 

t  Ridley  Prentice  calls  bars  973-102,  "Coda."  There  seems,  however,  no  real 
necessity  for  thus  separating  them  from  the  second  subject,  and  we  incline  to  the  view 
which  looks  upon  these  bars  as  forming  one  of  those  cadential  extensions  which  lie 
beyond,  or  outside,  the  perfect  cadence;  cf.  Sonata  VIII,  second  movement  (e), 
page  50. 

|  See  first  movement  of  this  sonata  (f),  paragraph  ii. 


SONATA  No.  VI  *  IN  D  MAJOR  (K.  284),  (i;;;). 
THEMATIC  SCHEME. 


Allegro 


—P — ^-^f^^iF--^  ^T 


9\ \_+ _l L 

f    ,  f  ^  »  r-^: 


,  f    m          i       f    f    f    f    f    f    f    t 

^'  - 


In 


movements. 


FIRST  MOVEMEN 
EXPOSITION. 

T—  "ALL 
Bars. 

EGRO,"  IN  D  MJ 
PART  II. 

LJOR.     SONATA  FORM. 

RECAPITULATION. 

Bars. 

(a)f  First  Subject  in  Tonic. 

(b)  Bridge-p  assage      or 
Transition        (overlap- 
ping). 
Second    Subject    in    A 
major  (Dominant). 
<c)   j  First  §11  22-381.   } 
(d)    (Second   §   38-51.  J 

Double  bar  and  repeat. 

1-91 

9-21 
22-51 

(e)  Episode. 
Bars  52-71. 

First  Subject  in  Tonic 
(unaltered)  . 
Transition  (unaltered). 

Second    Subject    in 
Tonic  (lengthened  and 
slightly  varied). 
(First  §  93-1101.     \ 
\  Second  §  110-127.  J 
(f)    Double  bar  and  repeat. 

72-801 
80-92 

93-127 

SECOND  MOVEMENT—  "  RONDEAU  EN  POLONAISE,"  "ANDANTE,"  IN  (a)  A  MAJOR. 
(KEY  OF  THE  DOMINANT).     OLDER  RONDO  FORM. 

Bars. 
1-16 


17-30 
31-46 
47-69 


70-92 


(b)  Principal   Subject  (first  entry) 

(c)  Episode  I,  New  Melody  in  the  keys  of  A  major  (Tonic)  and  E  major 

(Dominant) 

Principal  Subject  (second  entry)  varied  ... 
Episode  II,  consisting  of 

(d)  (i)  Link,  or  Passage  of  Transition,  in  F  sharp  minor,  leading  to 
(ii)  the  repetition  of  tjie  melody  from  Episode  I,  slightly  lengthened, 

and  transposed  into  the  keys  of   D  major   (Subdominant)    and   A 
major  (Tonic)  and  closing  on  a  half -cadence  in  A  minor, 
(e)  Principal  Subject  (third  entry)  lengthened  and  again  varied 

Alternative  analysis,   designated  by  some  authorities  First  Hondo  Form 
(i.e.,  a  Eondo  which  contains  only  one  Episode.) 

I  Principal  Subject  (a  somewhat  large  Ternary  Form)  Bars  1—46 

One  Episode  only       ...     47— < 

Principal  Subject  (second  entry)  ...     70—92 

(Only  the  first  portion  of  the  Principal  Subject  is  here  repeated, 
it  is,  however,  lengthened  by  seven  bars.) 

*  This  pianoforte  sonata,  one  of  seven  composed  in  the  year  1777,  appeared  with,  two  others  in  1784  as  Op.  7 
(see  Kochel's  Catalogue). 

t  See  footnote  *  supra  on  page  27. 

t  See  footnote  t  supra  on  page  27.  • 

4 


34 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT — (a) 

Variation:  — 

(b)  I    (c)  II    (d)  HI    (c)  IV    (I)  V    (ff)  VI 

"  TEMA  "  AND  ALL  VARIATIONS  EXCEPT  No.  VII. 

A     Sentence    in   D    major    (Tonic)    and  A 
major  (Dominant). 
Double  bar  and  repeat.** 

B  First  phrase  (second  sentence)  ending  on 
half -cadence  in  D  major.  J 

A2  Second  phrase  (second  sentence).  Re- 
turn to  opening\\  phrase  of  first 
sentence. 

Double  bar  and  repeat. 


TEMA/'  IN  D  MAJOR,  AVITH  TWELVE  VARIATIONS. 

VII     0)  VIII     (k)  IX    (D  X     (m)  XI     («)  XII. 


VARIATION  VII. 

A     Sentence  in  D  minor  (Tonic  minor)  and 
A  minor  (Dominant  minor). 

Double  bar  and  repeat. 
B     First   phrase   (second    sentence)    ending 

on  half-cadence  in  D  minor. 
Second   phrase    (second   sentence).     Re- 
turn to  one  of  the  phrases||  of  first 
sentence. 
Double  bar  and  repeat. 


**  At  the  end  of  the  first  part  of  the  eleventh  and  twelfth  variations  there  are  neither  double-bar  nor 
repeat  marks ;  also  there  are  no  repetition  marks  at  the  close  of  these  two  variations  (see  m  and  n). 

J  At  this  point  in  a  few  of  the  Variations  (Nos.  9,  10  and  11)  there  is  a  transient  modulation  to  the  key  of 
the  Dominant.  It  is  possible  that  some  theorists  will  look  upon  the  cadence  in  these  variations  as  an  inverted 
perfect  cadence  in  the  dominant  key,  the  majority,  however,  will  probably  consider  it  a  half-cadence  in  the 
tonic. 

||  See  footnotes  t  and  %  to  (a),  page  37. 


FIRST  MOVEMENT. 

(a)  Hadow  refers  to  this  first  subject  as  an  example  of  one  which,  in 
point  of  style  and  phraseology,  he  classifies  under  his  third  head,  viz., 
"A  set  of  two  or  more  sectional  passages  in  which  rhythmic  phrases  and 
short  melodic  stanzas  are  combined  "  (see  also  Sonata  I,  first  movement  c). 

It  is  impossible  to  say  with  any  certainty  which  point  in  this  move- 
ment Mozart  intended  to  be  the  end  of  the  first  subject.  According  to 
Stewart  Macpherson*  it  might  be  on  either  the  perfect  cadence  in  the 
tonic,  bar  g,  or  on  the  half -cadence  in  the  same  key,  bar  17.  Another 
authority,  however,  looks  upon  the  four  bars  on  tonic  pedal  (9-12)  as  an 
extension  of  the  final  cadence  of  the  first  subject,  and  therefore  places 
the  end  of  the  latter  on  the  third  beat  of  bar  12,  considering  the  transition 
to  start  on  the  following  F  sharp  (the  last  quaver  in  the  same  bar). 

It  should  be  noted  that  the  first  phrase  is  written  in  unison,  and  that 
the  second  one  is  lengthened  to  five  bars  by  repetition  in  bars  5-6.  The 
semiquaver  figures  (bars  7  and  8)  form  a  descending  melodic  sequence. 

(b)  If  the  first  subject  is  considered  to  end  on  the  first  beat  of  bar  9, 
the  transition,  which  then  commences  with  the  four  bars  on  tonic  pedal 
(9-12)  overlaps  it  (see  paragraph  a).   It  (the  transition)  continues  to  bar  21 


Form  in  Music,"  page  128. 


SONATA  NO.   VI.  35 

and,  beyond  a  transient  modulation  to  G  major,  is  entirely  in  the  key 
of  the  tonic  in  which  it  ends  on  a  half -cadence.  Bar  16  forms  the  chord 
of  the  augmented  sixth  in  D  major. 

(c)  The  first  section  of  the  second  subject  starts  with  a   four-bar 
phrase  ending  on  an  inverted  cadence  (25);  bars  26-29  repeat  the  fore- 
going in  modified  form.     A  five-bar  phrase,  whose  first  three  bars  rise 
sequentially,   follows   and  ends  on  a  half-cadence:    A  major  t?VI  G  bV, 
(bars  33,  34).    The  final  phrase  is  written  on  a  dominant  pedal. 

Compare  bars  34-361  with  bar  24,  and  note  how  they  grow  out  of — or 
are  suggested  by  the  earlier  bar. 

(d)  The  second  section  commences  with  what  is  really  a  four-bar 
phrase,  but  which  is  contracted  to  three  bars  by  the  phrase  being  immedi- 
ately repeated  overlapping.     The  responsive  phrase  is  lengthened  (i)  by 
the  sequential  repetition  of  a  bar  (47),  and  (ii)  by  the  cadential  extension 
at  the  end  of  the  phrase.* 

(e)  The  second  part  of  this  movement  consists  wholly  of  an  episode. 
Although,  in  the  usual  acceptation  of  the  term,  there  is  no  development 
of  material  from  the  first  part,  the  germ  of  the  episode  is  to  be  found 
there,  t 

Compare,  with  bars  17  and  18,  the  opening  motive  of  this  episode 
with  its  semiquaver  accompaniment.  The  section  is  full  of  inversion  of 
parts  and  of  sequential  passages.  Starting  in  the  key  of  A  minor,  it 
modulates  thence  through  E  minor,  B  minor,  F  sharp  minor,  E  minor,  D 
minor  and  G  minor  to  D  major,  on  the  dominant  chord  in  which  key  it 
closes,  bar  /o1. 

9 

As  a  matter  of  fact,  there  is  a  transient  modulation  to  A  major  at  the  cadence, 
and  therefore  some  theorists  may  look  upon  it  as  an  inverted  cadence  in  that  key, 
whose  final  chord  is  quitted  as  the  Dominant  chord  in  D  major.  The  context  of  the 
passage  is,  however,  against  this  view.  For,  the  ante-penultimate  chord  of  the 
cadence,  which  (as  mentioned  further  on)  forms  the  chord  of  the  Neapolitan  Sixth 
in  D  major,  is  absolutely  foreign  to  the  key  of  A  major.  This  fact,  whilst  possibly 
not  disproving  the  actual  cadence  to  be  in  the  latter  key,  goes  far  to  support  the 
view  that  it  is  in  the  key  of  D  major.J 

Note  that  (i)  the  second  chord  in  bar  60,  which  is  taken  as  the  first 
inversion  of  the  chord  of  the  submediant  in  B  minor,  is  quitted  as  the 
Neapolitan  sixth  in  F  sharp  minor;  (ii)  the  third  chord  in  bar  69  which, 
in  similar  manner  is  taken  in  G  minor,  is  quitted  in  D  major;  (iii)  the 

*  Dr.  Fisher  calls  bars  50-2-51  "  Codetta."     ("The  Musical  Examiner,"  by  H. 
Fisher,  Mus.Doc.)     See  Sonata  V,  third  movement,  footnote  f  to  (f),  page  32. 
f  See  (f),  paragraph  ii,  in  the  first  movement  of  the  previous  sonata 
|   See  Sonata  III,  third  movement,   footnote  to  (k),  page  20. 


36  MOZART'S  PIANOFORTE  SONATAS. 

fourth  chord  in  bar  68  is  the  first  inversion  of  the  chord  on  the  minor 
seventh  in  the  key  of  G  minor*;  and  (iv)  bars  70-71  form  a  link  leading 
into  the  recapitulation. 

(f)  See  Sonata  II,  first  movement  (1),  page  9. 


SECOND   MOVEMENT. 

(a)  It  is  not  only  somewhat  unusual  to  find  the  slow  movement  of  a 
sonata  in  rondo-form,  but  this  movement  is  written  also  in  the  less  usual 
key  of  the  dominant.!     The  feminine  ending  to  the  cadences  should  be 
noted,  not  only  in  bars  8  and  16  (and  at  each  repetition  of  the  principal 
subject)  but  also  in  bar  30,  the  last  bar  of  Episode  I.     This  feature,  com- 
bined with  the  triple  time  in  which  the  movement  is  written,  is  the  special 
characteristic  of  the  Polonaise. 

(b)  The  principal  subject,  a  sentence  of  sixteen  bars,  consists  of  an 
eight-bar  theme  in  A  major,  ending  the  first  time  on  a  half-cadence;  the 
theme  is  then  repeated  varied,  ending  the  second  time  on  a  full  cadence.J 

(c)  The  first  episode  starts  with  a  new  theme  in  the  tonic,  modulating 
(bar  22)  to  E  major  (dominant),  in  which  key  there  is  a  full  cadence,  bar 
25 ;  the  sentence  is  then  extended  by  cadential  repetitions  to  bar  30. 

(d)  In  this  passage,  which  ends  on  a  half-cadence  in  F  sharp  minor, 
the  bass  descends  chromatically.     The  cadence  is  formed  by  the  chord 
of  the  augmented  sixth — the   German  sixth  changing  into   the   Italian 
sixth — resolving  on  to  the  chord  of  the  dominant. 

(e)  The  principal  subject  this  time  is  not  only  considerably  varied 
but    is    also    lengthened  by  cadential  repetitions.  §      The    original  final 
cadence  is  interrupted  by  an  inverted  cadence  in  the  key  of  the  relative 
minor — F  sharp,  and  appears,  instead,  at  the  end  of  the  extensions,  bars 
90-91  (repeated  in  92). 


*  See  Sonata  XII,  third  movement,  footnote  f  to  (f). 

t  See  also  Sonatas  No.  XVI,  in  C  major,  and  No.  XVIII,  in  D  major.  The 
first  Minuet  in  Sonata  IV,  in  E  flat  major,  is  written  also  in  the  key  of  the  Domin- 
ant, but  the  construction  of  that  sonata,  taken  as  a  whole,  is  altogether  unusual. 

I  Bertenshaw  cites  this  subject  as  a  good  example  of  the  varied  ornamentation 
of  a  melody.  It  occurs  six  times  during  the  movement,  and  is  considerably  varied 
at  each  recurrence. 

§  Percy  Goetschius  refers  to  these  bars  as  forming  a  "  coda,  which  assumes  the 
nature  of  a  mere  extension."  ("Lessons  in  Music  Form.") 


SONATA  NO.    VI. 


37 


THIRD   MOVEMENT. 

(a)  The  "  Tema  "  is  written  in  a  form  which  is  neither  wholly  binary 
nor  wholly  ternary  in  design,  but  which  partakes  of  the  character  of 
both.  Stewart  Macpherson*  characterises  it  as  "hybrid"  in  form  and 
cites  it  as  an  example  of  a  type  of  movement  in  which  "the  shape  ap- 
proximates to  the  binary  or  two-part  form,  while  the  inherent  idea  con- 
tained therein  is  emphatically  ternary  or  three-part." t  He  continues  : 
"  Notwithstanding  the  fact  that  this  piece  is  divided  by  the  double-bar 
into  two  nearly  equal  portions,  leading  one  at  first  sight  to  class  it  as  a 
two-part  movement,  the  somewhat  strongly-marked  cadence  at  (a) 


— emphasised  as  it  is  by  the  rests  that  follow — and  the  very  unmistak- 
able return  to  the  opening  phrase'*,  at  (b)  are  strong  evidences  of  the 
ternary  or  three-part  idea.  On  these  grounds,  the  balance  of  probabili- 
ties is  in  favour  of  this  latter  classification,  the  characteristic  features  of 
divergence  and  recurrence  (or  retrospect)  being  clearly  defined." 

(b)  The  first  variation  is  characterised  by  triplets  in  the  treble. 

(c)  The  second  variation  is  worked  entirely  on  the  figures  with  which 
it  opens  in  both  bass  and  treble. 

(d)  and  (e)  The  third  variation  is  characterised  by  the  semiquaver 
movement  in  the  treble,  which  movement  is,  in  the  fourth  variation,  trans- 
ferred to  the  bass. 

(f)  The  special  feature  to  notice  in  the  fifth  variation  is  the  slight 
working  of  the  opening  motive.     This  is,  to  a  great  extent,  combined  with 


*   "Form  in  Music." 

t  Percy  Goetschius  describes  it  as  in  "  Incipient  Ill-part  Form." 
t  It  is  interesting  to  note  that  in  one  Variation,  No.  X,  the  return  is  undoubt- 
edly made  to  the  second  and  not  to  the  first  phrase  of  Part  I.     And  in,  at  any  rate, 
a  couple  of  the  others,  viz.,  Nos.  7  and  12,  there  is  some  little  uncertainty  as  to  which 
of  the  two  phrases  the  reference  is  intended;  in  No.  7  it  is  probably  to  the  second. 


38  MOZART'S  PIANOFORTE  SONATAS. 

an  accompaniment  of  thirds.  The  inversion  of  parts  at  the  commence- 
ment of  the  last  phrase  (bars  I33-I5)  should  be  noted. 

(g)  In  the  sixth  variation  the  melody,  divided  between  the  bass  and 
treble,  is  accompanied  throughout  by  the  reiterated  figure  of  a  "  broken  " 
interval.  The  figure  is  invariably  formed  of  three  semiquavers  follow- 
ing on  a  semiquaver  rest. 

(h)  Although,  in  music  of  the  period,  examples  to  the  contrary  can 
be  found,  more  frequently,  as  in  this  set  of  variations,  only  one  varia- 
tion was  written  in  the  minor  mode. 

The  chord— D  minor  VI  It  6  occurs  both  in  bars  3  and  16;  that  of  A 
minor  VI G6  in  bar  6;  and  in  bar  10,  the  first  inversion  of  the  chromatic 
major  chord  on  the  mediant  of  D  minor  is  followed  by  the  chord  of  the 
Neapolitan  sixth. 

(j)  In  the  eighth  variation  the  melody  is  in  octaves.  The  phrases, 
commencing  in  bars  4  and  13,  start  with  the  parts  inverted. 

(k)  The  ninth  variation  is  characterised  by  almost  constant  synco- 
pation combined  with  imitation  between  the  parts,  both  by  similar  and 
contrary  motion.  Note  specially  bars  4-6  and  I23-I5,  in  which  there  is 
strict  imitation  at  the  octave  above;  in  bars  12-14,  the  imitation  is  by 
contrary  motion. 

(1)  The  tenth  variation  is  accompanied  throughout  by  broken  octaves. 
In  this  variation  the  return  is  undoubtedly  made  to  the  second  phrase 
of  Part  I  (see  supra  note  J  to  a). 

(m)  The  eleventh  variation  marked  "Adagio  Cantabile"  is,  as  the 
words  imply,  of  a  song-like  character.  As  is  usual  in  such  cases,  each 
part  of  the  melody  is  greatly  varied  and  ornamented  at  the  repetition. 

The  repetitions,  therefore,  are  written  out  in  full  and  the  double-bar 
and  repeat  marks  which  have  occurred  both  in  the  middle  and  at  the  end 
of  the  "Tema"  and  in  each  of  the  previous  variations,  are  of  course 
omitted,  and  only  the  one  set  of  double-bars  (without  repeat  marks) 
placed  at  the  end.* 

(n)  In  the  twelfth  variation,  marked  "  Allegro,"  both  the  time  and 

*  In  reference  to  Mozart's  variations  on  "  Je  suis  Lindor,"  Prout  writes  :  "  The 
eleventh  variation  shows  a  special  characteristic  of  Mozart's  treatment  of  this  form. 
In  fourteen  out  of  fifteen  sets  of  variations  from  his  pen  (not  counting  those  which 
are  single  movements  of  larger  works,  such  as  sonatas  and  quartets)  we  find  one  varia- 
tion adagio— nearly  always  the  penultimate  variation  of  the  set.  The  effect  is  to 
change  the  character  of  the  theme,  though  its  melodic  and  harmonic  outlines  are 
generally  closely  reproduced.  These  slow  variations  are  always  elaborately  orna- 
mented, and  are  in  many  cases  the  most  beautiful  of  the  whole."  ("  Applied 
Forms.") 


SONATA  NO.   VI.  39 

the  tempo  are  changed,  the  alteration  from  C  to  |  time  giving  a  lively 
character  to  this,  the  final  variation.     Both  parts  are  repeated,  each  being 
greatly  varied.*    In  Part  II,  the  second  phrase  is  twice  lengthened  by  the 
introduction  of  an  interrupted  cadence  causing  cadential  repetition. 
Bar  283  forms  the  chord  of  D  major  t?VIIt  6 


Although  the  repetition  of  Part  II  can  be  distinctly  traced  in  the  last  fifteen 
bars,  it  is  so  much  modified  that  some  are  inclined  to  look  upon  these  bars  as 
''coda." 


SONATA  No.  VII*  IN  C  MAJOR  (K.  309),  (a),f  (1777). 
THEMATIC  SCHEME. 


Allegro  consfinlo 

7=££ 


->-  .L       ,  : 


In  three  movements. 


FIRST  MOVEMENT— "  ALLEGRO  COX  SPIRITO/'  IN  C  MAJOR.     SONATA  FORM, 


EXPOSITION. 

Bars. 

I<REE  FANTASIA.  ||           RECAPITULATION.                Bars. 

(b)  First  Subject  in  Tonic. 

(c)  Bridge-p  assage      or 
Transition, 
(d)  Second    Subject    in    G 
major  (Dominant), 
(e)  Codetta. 
Double  bar  and  repeat. 

1-211 

21-2-32 
(+33-34) 

35-541 

542-58 

(f)  Bars  59-93. 

(g)  First     Subject     in     C 
major  and  C   minor, 
(h)  Bridge-p  a  s  s  a  ge      or 
Transition, 
(j)    Second     Subject     with 
Codetta  (in  Tonic), 
(k)  Coda  (overlapping). 

94-1161 
116-2-128 

129-1521 
152-155 

SECOND  MOVEMENT  — "  ANDANTE  VN  TOCO  ADAGIO,"  IN  F  MAJOR  (!VEY  OF  THE  SUB- 
DOMINANT),     (a)  TERNARY  FORM. 

_Bars. 

Part  I 

(b)        Melody  in  F  major  (Tonic) 1-16 


Repeated  with  ornamentations        ...         ...         ...  ...     17—32 

(c)  [Part  II 

I    Melody  of  12  bars,  in  C  major  (Dominant)  modulating  back  to  F  major. 

IPart  III          

1    Repetition  of  8  bars  of  Part  I  (in  Tonic)  slightly  varied. 
Parts  II  and  III  repeated  with  florid  ornamentation 

(d)  Coda 


1-32 


33-44 
45-52 

53-761 
76-1-79 


*  (i)    This   sonata  was   composed  for  Mile.   Cannabich. 

(ii)  The  three  Sonatas,  Nos.  7,  8  and  9,  appear  in  an  early  edition  published  in  Paris  by  Heina  as  "  Trois 
Senates  pour  le  Clavecin  ou  le  Forte  Piano,  par  Wolfgang  Amade   Mozart  " 
t  See  footnote  *  supra  on  page  27. 


SONATA  NO.   VII. 


THIRD  MOVEMENT— (a)  RONDO,  "  ALLEGRETTO  GRAZIOSO,"  IN  C  MAJOR. 


(b)  Principal  Subject  (first  entry)  in  Tonic 

(c)  Bridge-passage  or  passage  of  Transition         

(d)  Second  Subject  in  G  major  (Dominant) 

j§I   1.  39-2-57\ 
I  §     2.  58-771  J 

(e)  Modulating  passage,  variously  called  Episode  or  Codetta 
Principal  Subject  (second  entry)  in  Tonic,  with  slight  ornamentation 

Link  on  the  inverted  Dominant  Seventh  in  F  major         

(f)  Episode  in  F  major  (key  of  the  Subdominant)  modulating  at  the  close 
through  D  minor  to  C  major,  the  latter  part  thus  forming  a  transi- 
tional passage  leading  to  

(g)**  Recapitulation  of  Second  Subject  in  the  key  of  the  Tonic 

This,  like  the  preceding  episode,  ends  with  a  transitional  passage  which 
leads  to  the 

Principal  Subject  (third  entry)  in  Tonic,  with  slight  ornamentation    ... 
Recapitulation  in  the  key  of  the  Tonic  of  various  passages  previously 

heard  in  the  Exposition 
(h)       Codetta  founded  on  Principal  Subject 


Bars. 


1-191 
19^-391 
39-2-771 


772-92 
93-1111 
1112-115 


116-1421 
142-2-188 


189-2071 

207-244 
244-2-252 


J  See  footnote  t  supra  on  page  27. 

**  When   viewed   from  the   standpoint  of   the  Older  Rondo  Form,  everything-  lying  between  the  second  and 
third  entries  of  the  principal  subject  constitutes  the  second  (the  long) "episode. 


FIRST   MOVEMENT. 

(a)  Further  investigations,  made  since  KochePs  "  Chronological  Cata- 
logue" was  first  published,  have  shown  that  this  sonata  was  written  in 
the  year  1777  and  not  in  1778,  though,  even  in  the  second  edition  of  the 
above  compilation,  it  is  still  included  amongst  the  works  composed  in 
the  later  year.     The  alteration  as  to  its  position  was  not  made  for  the 
following  reasons  :   (i)  because  confusion  might  have  arisen  when  refer- 
ring to  earlier  works   on   Mozart   (Mozart-Literatur),   especially   to   the 
"  Gesamtausgabe"*;  and  (ii)  because  any  such  alteration  might  have  en- 
tailed extensive  re-numbering  in  the  chronological  portion  O'f  this  work.f 

(b)  The  first  subject  consists  of  what  is  virtually  an  eight-bar  melody, 
repeated  overlapping,  thus  contracting  the  first  appearance  of  the  sentence 
to  seven  bars,  whereas,  on  its  repetition,  the  length  is  greatly  extended 
(bars  8-2 11).     According  to  Goetschius,  the  overlapping  causes  elision  of 
the  perfect  cadence  between  bars  7  and  8. 


*  It  seems  a  great  pity  that  editors  of  the  pianoforte  sonatas  have  not  equally 
appreciated  the  benefit  of  uniform  numbering  (see  Appendix). 

f   See  preface  to  the  second  edition  of  Kochel's    "  Chronological  Catalogue," 
and  also  the  note  appended  to  the  sonata  itself  (Xo.  309)  in  the  same  volume. 


42  MOZART'S   PIANOFORTE   SONATAS. 

The  so-called  "elision"  of  the  cadence  caused  by  the  first  measure  of  a  new 
sentence  overlapping  the  final  cadence-measure  of  the  previous  one  is  a  point  to  which 
it  is  well  worth  calling  attention.  Although  one  measure  is  actually  missing,  the 
icant  of  it  is  not  apparent  in  the  music,  for,  in  the  musical  effect  of  the  passage  the 
one  measure — that  in  which  the  overlapping  occurs — fulfils  the  purpose  of  two.  It 
gives  the  distinct  impression,  not  only  of  forming  the  opening  measure  of  the  new 
sentence,  but  of  absolutely  and  satisfactorily  "clinching"  the  previous  perfect 
cadence.  And  on  account  of  this  twofold  nature,  or  character,  in  the  one  measure 
Prout  will  not  permit  the  usa  of  the  term  "  elision  "  to  be  applied  in  such  cases,  nor, 
in  fact,  does  he  allow  that  it  is  possible  for  any  accented  measure  to  be  "  elided." 
And  Goetschius,  who,  in  "  Homophonic  Forms,"  specifically  quotes  this  passage  as 
an  example  of  "elision  of  the  cadence,"  in  his  later  work  (''Lessons  in  Music 
Form  ")  when  writing  on  the  same  point  adds  :  "  in  a  word,  one  measure  is  lost — not 
in  effect,  for  the  elements  of  the  expected  cadence  are  all  present — but  in  the 
counting." 

(c)  The  transition  commences  with  a  series  of  freely  sequential  scale 
passages  which  modulate  (bars  25-26)  to  G  major.     In  this  key  there  is  a 
half-cadence,  bar  32.     The  following  two  bars  (33,  34)  "  poising  on  dom- 
inant  harmony,"    as    Banister    expresses    it,    anticipate    in    the   bass    the 
rhythmic  figures  with  which  the  opening  portion  of  the  second  subject  is 
accompanied.* 

(d)  The  second  subject  contains  only  one  section  (theme),  a  feature 
unusual  in  quick  movements  in  sonata  form.     (See,  however,  third  move- 
ment, Sonata  II  in  F  major,  and  first  movement  Sonata  III   in  B   flat 
major.)     The  construction  of  the  last  bar  in  the  three-bar  phrase  (43-45) 
is  interesting.     Into  it,  by  the  process  of  "  diminution,"   are  contracted 
the  first  two  bars  of  the  second  subject.     The  overlapping  of  the  phrases 
in  bar  46  should  also  be  noted  (see  b,  paragraph  ii,  supra]. 

(e)  The  figure  of  the  codetta  is  possibly  suggested  by  one  in  bar  11. 
Bars  56^58  are  a  variation  of  542-561. 

(f)  The  free  fantasia  is  founded  principally  on  the  first  subject.     It 
commences  with  the  opening  bars  of  the  latter  transposed  into  the  key  of 
G  minor.     In  61,  the  fragment  from  the  previous  bar  is  repeated  in  the 
bass  with  an  imitative  figure  in  the  treble ;  in  62.,  the  foregoing  bar  is 
inverted. 

Bars  67-72,  in  the  key  of  D  minor,  and  modulating  to  A  minor, 
form  a  modified  repetition  of  the  immediately  preceding  passage  (59-66), 
which  starts  in  G  minor  and  modulates  to  D  minor.  Bars  73-74,  in  A 
minor,  are  repeated  (75-76)  in  G  minor,  the  four  bars  thus  forming  a  real 
sequence.  Bar  77  is  in  C  major,  but  in  78,  a  return  is  made  to  A  minor, 
in  which  key,  after  two  and  a  half  bars  on  an  inversion  of  the  super- 

*  According;  to  Dr.  Fisher  these  two  bars  form  the  opening  bars  of  the  second 
subject. 


SONATA  NO.   VII.  43 

tonic  ninth,  there  is  a  full  cadence  (82),  and  a  repetition  of  the  codetta. 
Bars  86-89  reproduce  59-62  in  the  key  of  A  minor,  and  the  next  four  bars 
(90-93)  are  still  another  repetition  of  the  same  passage  taken,  in  this 
instance,  however,  on  the  chord  of  the  dominant  seventh  in  C  major,  thus 
leading  to  the  recapitulation,  bar  94. 

(g)  The  middle  section  of  the  first  subject  reappears  slightly  length- 
ened and  modified,  and  is  in  the  key  of  the  tonic  minor  instead  of  the 
major.  The  opening  and  closing  portions  of  the  subject  are,  however, 
exactly  like  the  original. 

(h)  The  transition  is  modified  so  as  to  lead  into  the  second  subject 
in  the  key  of  the  tonic. 

(j)  With  the  exception  that  in  the  first  phrase  (bars  129-132)  the 
parts  are  inverted,  the  second  subject  reappears  in  the  key  of  the  tonic 
with  but  slight  alteration. 

(k)  The  coda  refers  to  the  first  subject.  It  is  possible  that  some 
analysers  may  consider  that  it  commences  with  the  repetition  of  the 
codetta  four  bars  earlier.* 

SECOND   MOVEMENT. 

(a)  The  form  of  this  movement  is  based  on  the  structure  of  a  single 
minuet,  t    As,  however,  the  parts  are  varied  on  repetition,  they  are  written 
out  on  each  occasion  in  full,  and  consequently  the  double  bars  with  re- 
peat marks,  characteristic  of  the  typical  minuet,  are  dispensed  with. 

(b)  This  melody  forms  a  sixteen-bar  sentence  of  very  regular  and 
usual  construction.     It  contains  four  four-bar  phrases,  of  which  the  first 
and    third,    and    the    second    and    fourth,    correspond    very    closely    in 
melody.     Moreover,  the  use  of  the  half-cadence  at  the  end  of  the  second 
phrase  is  also  of  very  frequent  occurrence  in  such  sentences,  the  latter 
part  of  the  fourth — the  corresponding — phrase,  being,  of  course,  modi- 
fied so  as  to  end  with  a  full  cadence. 

(c)  As  in  a  minuet,  Part  II  leads  directly  into  Part  III,  after  which 
both  Part  II  and  Part  III  are  repeated. 

(d)  The  short  coda*  consists  of  cadential  repetitions. 

*  See  Sonata  X,  first  movement  (k),  page  65. 

t  See  Sonata  IV,  second  movement  (c),  page  24,  Bertenshaw  considers  this  move- 
ment to  be  in  two-part  Song  Form,  with  the  first  section  given  out  four  times  instead 
of  the  usual  twice. 

|  Hadow  (see  "  Sonata  Form  ")  calls  attention  to  the  interesting  fact  that,  in 
51  sonata,  there  is  always  a  coda  in  slow  movements  written  in  a  simple  Ternary  Form. 


44  MOZART'S  PIANOFORTE  SONATAS. 

THIRD  MOVEMENT. 

(a)  See  Sonata  III,  third  movement  (Rondo)  a,  page  17.  In  this  Rondo, 
as  in  the  one  above-mentioned,  the  first  part  (i.e.,  up  to  the  end  of  the 
second  entry  of  the  principal  subject,  bar  1 1 1)  resembles  that  of  a  Sonata- 
Rondo  (see  Thematic  Scheme).     In  comparing  these  two  movements   it 
is  interesting  to  note  that,  in  the  later  one,  not  only  the  second  melody, 
but  the  preceding  modulating  passage  also,  have  grown  both  in  dimen- 
sions and  importance. 

The  chief  structural  difference  between  this  movement  and  a  Rondo 
of  the  fully-developed  form  is  the  absence  of  the  third  entry  of  the 
principal  subject*  at  the  end  of  the  episode  (bars  116-142)  where  the 
music  returns  definitely  to  the  key  of  the  tonic.  Here,  instead  of 
returning  to  the  principal  subject,  the  recapitulation  commences  by 
reproducing  the  passages  which,  in  the  exposition,  occurred  in  the  key 
of  the  dominant ;  and  on  this  account  they  can  therefore  be  considered 
as  a  second  subject. f  It  is  only  after  the  repetition  of  these  passages 
that  the  third  entry  of  the  principal  subject  occurs,  thus  occupying  the 
position  which,  in  a  normal  Sonata-Rondo,  would  be  filled  by  either  a 
fourth  entry  of  the  same  subject,  or  by  a  coda. 

Analysing  the  movement  on  the  basis  of  the  older  form  of  Rondo, 
the  episode  commencing  in  bar  116 — now  constituting  the  second  or 
"long"  episode* — will  not  end  in  bar  142,  as  in  the  type  of  Rondo 
detailed  above,  but  will  continue  to  bar  188.  It  thus  embraces  the  whole 
of  what  has  there  been  described  as  the  recapitulation  of  the  second 
subject — in  this  form,  a  repetition  of  the  principal  portion  of  Episode  7. 

According  to  this  analysis,  therefore,  the  position  of  the  third  entry 
of  the  principal  subject  is  normal,  the  unusual  feature  being  the  repro- 
duction, later  in  the  movement,  of  a  great  proportion  of  the  first  episode 
in  the  key  of  the  tonic — a  trait  characteristic  of  the  more  highly-wrought 
design. 

(b)  The  principal  subject  consists  of  a  sixteen-bar  sentence  prolonged 
by  cadential  repetition  to  nineteen  bars.     The  overlapping  of  the  phrases 
in  bar  16  should  be  noted  (see  movement  I  (b),  paragraph  ii). 

*  On  account  of  the  absence  of  the  Principal  Subject  at  this  point,  Percy 
Goetschius  refers  to  the  form  of  the  movement  as  being  an  "abbreviation"  of  the 
regular  Sonata-Rondo  form. 

f  At  this  point  the  structure  of  the  movement  resembles  that  of  a  Sonata-Alle- 
gro, in  which  the  Second  Subject  is  recapitulated  (exceptionally)  before  the  first 
subject. 

|  In  this  case  it  is  unusually  long. 


SONATA  NO.   VII.  45 

(c)  The  transition  ends  on  a  half -cadence  in  the  tonic,  bar  39.     The 
passage,  bars  272-39,  is  a  modified  and  lengthened  repetition  of  the  first 
eight  bars.     Note  that  the  parts  in  bars  32-33  are  inverted  in  34-35. 

(d)  The  second  subject  is  divided  into  two  sections,  the  first  ending 
in  bar  57  on  the  repeated  chord  of   G   major    V[>9,  the  second   section 
commencing  in  the  following  bar  with  the  melody  transferred  to   the 
bass.*     Bars  43"2-47  are  in  sequence,  in  che  treble,  to  39"2-43-     The  second 
section  consists  of  two  sentences.     The  first  contains  three  phrases;  the 
second,  a  modified  repetition  of  the  first,  starting  in  G  minor  instead  of 
G  major,  is  curtailed  to  two  phrases. 

(e)  This  passage  forms   a  connecting   episode  between  the   second 
subject  and  the  re-entry  of  the  principal   subject.     It  modulates   from 
G  major  to  C  major,  ending  on  the  dominant  seventh  in  the  latter  key. 

(f)  This  episode  consists  of  an  eight-bar  melody  which,  on  repetition, 
is  modified  and  lengthened  by  a  passage  modulating  through  D  minor 
to  C  major  (the  tonic).     It  is  preceded  by  an  introductory  link  (111-115) 
founded  on  figures   from  the  second  subject,  and  it  ends,  like  a  Free 
Fantasia,  on  the  dominant  harmony  in  the  key  of  the  tonic,  thus  leading 
directly  into  the  recapitulation  t  (bar  I422).     The  final  bars  are  a  modi- 
fication of  bars  48-52  in  the  second  subject. 

(g)  The  close  of  this  subject  varies  considerably  from  the  original 
close.     Instead  of  ending  on  a  full  cadence,  as  in  the  first  instance,  it 
merges  here  into  a  transitional  passage  which  terminates  on  the  dominant 
seventh  in  C  major.     A  link  of  two  bars  leads  into  the  third  entry  of  the 
principal  subject.J 

(h)  The  codetta,  founded  on  the  principal  subject,  is  written  over  a 
tonic  pedal  with  a  combination  of  the  plagal  and  the  perfect  cadences. 

Banister  calls  these  bars  "Codetta,"  a  term  more  appropriate  to  the  character 
of  the  passage  than  would  be  the  usual  word,  "  Coda."  It  is  very  possible,  however, 
that  there  may  be  a  difference  of  opinion  as  to  where  this  final  section  of  the  move- 
ment should  be  considered  to  commence,  and  some  may  mark  it  as  starting  in  bar 
221,  in  which  case  the  section  would,  of  course,  be  called  coda. 


*  The  reiterated  broken  octaves  in  the  treble  of  these  bars  cannot  be  called  an  in- 
verted pedal,  because  the  only  chords  employed  in  the  passage  are  those  of  the  tonic 
and  dominant,  to  both  of  which  the  note  "  D  "  belongs. 

t  The  recapitulation  of  the  Second  Subject,  not  the  Principal  Subject. 

|  On  the  whole,  the  balance  of  opinion  seems  in  favour  of  classifying  this  move 
ment  as  a"  simple  rondo,"  in  which  the  episodes  are  loinig,  and  where  the  second, 
the  "  long  episode,"  besides  new  material,  contains  a  repetition  of  the  greater  por- 
tion of  the  first  episode  with  change  of  tonality,  and  some  slight  development. 


SONATA  No.  VIII »  IN  A  MINOR  (K.  310),  (1778). 
THEMATIC  SCHEME. 


All'gro  maestoso 

u— I  -jm m~;~m~i 


= 


In  three  movements. 


FIIIST  MOVEMENT—  "  ALLEGRO  MAESTOSO,"  IN  A  MINOR,     SONATA  FORM. 


EXPOSITION. 


(a)  t  First  Subject  in  Tonic. 

(b)  Bridge-p  assage      or 
Transition        (overlap- 
ping). 

(c)  Second     Subject     in    C 

major  (relative  maior). 

(d)  f  First  sect'n  22-3-351  \ 

(e)  (Second     „       35-451) 

(f)  Codetta. 

Double  bar  and  repeat. 


Bars. 


1-91 
9-222 
22-3-451 
45-49 


FREE   FANTASIA. 
(g)~Bars  50-79. 


RECAPITULATION. 


First  Subject  in  Tonic. 
(h)  Bridge-p  assage      or 

Transition  overlapping; 

(varied      and     slightly 

lengthened). 
(j)    Second    Subject    in 

Tonic. 

/First  section  103-3-1161.  \ 
I  Second  section  116-1291.  j 
(k)  Codetta  in  Tonic. 


Bars. 


80-881 

88-1032 
103-3-1291 
129-133 


SECOND  MOVEMENT—  "  ANDANTE  CANTABILE  CON  ESPRESSIONE,"  IN  F  MAJOR 
(KEY  OF  THE  SUBMEDIANT  MAJOR),     (a)  SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

(b;  First  Subject  in  Tonic. 

(c)  Bridge-p  assage       or 
Transition  (with  link). 

(d)  Second    Subject    in    C 
major  (Dominant), 
(e)  Codetta, 
(f)  Double  bar  and  repeat. 

To  81 
82-151 

15-291 
29-1-312 

(g) 
(i)      Passage 
founded     on 
First      Subject, 
313-371. 
(ii)         Episode. 
37-2-532. 

First  Subject  in  Tonic 
(unaltered), 
(h)  Bridge-p  assage      or 
Transition    (with    link 
modified), 
(j)    Second    Subject    (in 
Tonic),   (slightly  modi- 
fied and  lengthened). 
Codetta. 

533-611 
612-681 

68-841 
84-1-86 

*  See  Sonata  VII,  footnote  *  (ii)    to  the  Thematic  Scheme, 
t  See  footnote  *  supra  on  page  27. 

**  All  authorities  agree  as  to  the  character  and  purpose   of  the  two  passages,   bars   21-28   and   bars  87-106. 
Some,  however,  broadly  include  them  as  forming-  part  of  the  episode  itself,  and  analyse  the  latter  as  extending 

Others,    however, 
29-871   (see  c  and  f). 

...  _  ..  all  similar  passages 

in  other  movements.     (See  Thematic  Scheme  of  third  movement  on  nest  page.) 


me,  nowever,  oroaaiy  mcmae  tnem  as  lorming  pan  oi  tne  episode  itself,  and  analyse  the  1 
from  bar  21  to  bar  106,  and  commencing  and  ending  with  these  connecting  passages,  etc. 
analyse  them  as  "  outside  "  the  episode,  and  consider  the  latter  to  extend  only  from  bar  29- 
The  same  remarks  apply  also  to  the  link  (bars  111-115)  in  the  finale  of  Sonata  VII,  and  to  a 


(h) 

U) 


P 
K  3  I 


SONATA  NO.   VIII. 
THIRD  MOVEMENT— "  PRESTO,"  IN  A  MINOR,     (a)  RONDO. 

(b)  Principal  Subject  (first  entry)  in  Tonic        

Long  modulating  passage  consisting  of 

(c)  (i)  8  bars  in  C  major  (relative  major)  ending  on" 

half-cadence,  leading  to 

(d)  (ii)  a  variation  of  the  Principal  Subject  in  C  minor, 
and  C   major,    greatly   lengthened,   and  with  fre- 
quent allusions  in  the  latter  portion  to  the  key  of1 
D  minor;  the  passage  modulates  finally  to  the  key 

of  E  minor,  in  which  it  ends  on  a  half-cadence  inj>  =  Episode  I*' 
bar  63,  and  leads  to  a 

^e)  Melody  (forming  Second  Subject)  in  E  minor 
(Dominant  minor)  also  a  variation,  taken  by  in- 
version, of  the  Principal  Subject 

(f)    Connecting  passage,  overlapping,  variously  called 
Episode  or  Codetta,  leading  to         ...         ...         ..., 

(g)  Principal  Subject  (second  entry)  in  Tonic,  followed  by  a  modified 
reproduction  of  a  portion  of  the  previous  Episode  transposed  into 
the  key  of  the  Tonic  

DOUBLE  BAB. 

Episode  in  A  major  (Tonic  major)  in  a  "  Hybrid  "  Form.J    ... 
(A.     New  melody  in  A  major  modulating  to  E  major  (Dominant). 

Double,  bar  and  repeat. 
B.     Eight  bars  modulating  sequentially  through  B  minor  to  A  major  and 

leading  to 

A2.    Repetition  of  a  portion  of  the  first  sentence  (i.e.,  the  second  of  four 
phrases)  modified  so  as  to  close  with  a  full  cadence  in  the  Tonic. 

Double  bar  and  repeat. 

Principal  Subject  (third  entry)  in  Tonic  (unaltered)    ... 
(k)  Passage  of  Transition 
(1)    Second  Subject  in  Tonic  (modified) 
(m)  Coda  


47 


Bars. 

1-20 
21-63 


64-871 
87-106 

107-142 
143-174 


175-194 
195-202 
203-225 
226-252 


**  See  footnote  **  on  pi-evious  page. 
J  See  Sonata  VI,  third  movement   (a),  prxge  37. 


FIRST   MOVEMENT. 

See  Sonata  XIV,  first  movement  (a),  Par.  ii. 

(a)  The  first  subject  is  an  eight-bar  sentence  prolonged  to  nine  by 
the  sequential  repetition  of  a  motive  in  the  second  phrase.     The   first 
phrase  is  written  entirely  on  a  tonic  pedal,  over  a  continuation  of  which 
the  second  phrase  opens. 

(b)  The  transition  overlapping  the  first  subject,  on  which  it  is  prin- 
cipally founded,  starts  as  though  that  subject  were  commencing  again. 
After  three  bars,  however,  it  modulates  to  F  major;  thence — momentarily 
touching  the  keys  of  D  major  and  C  major — to  C  minor,  in  which  key 


48 


MOZART'S   PIANOFORTE   SONATAS. 


it  ends  on  a  half -cadence  (bar  22).  The  second  subject  is  thus 
approached  through  the  tonic  minor  of  its  own  key.  (See  also  first 
movement  Sonatas  No.  XII  and  XV,  both  in  F  major.) 

(c)  The  second  subject  is  in  C  major  (relative  major).     It  is  of  in- 
terest to  note  that  in  his  only  other  sonata  in  the  minor  mode,  viz.,  No. 
14,  in  C  minor,  Mozart  has  also  written  the  second  subject  in  the  key 
of  the  relative  major.* 

(d)  Note  the  melodic  sequence  in  the  opening  bars  of  the  second 
subject  (23-25);  and  the  sequence  in  all  parts,  bars  28-29. 

(e)  The  special  point  to  notice  in  the  second  section  of  this  subject 
is  in  the  repetition  of  the  melody,  bars  40-45,  the  greater  part  of  which 
is  inverted. 

(f)  The  figures  of  the  codetta  are  derived  in  the  treble,  from  the 
opening  bar  of  the  movement,  and  in  the  bass,  from  a  figure  in  the  tran- 
sition, bar  ii. 

(g)  After  the  first  few  bars,  the  Free  Fantasia  is  worked  entirely 
on  two  two-bar  sections,  the  greater  portion  being  developed   from  the 
opening  bars  of  the  first  subject,!  and  the  latter  part  being  founded  on 
bars  4i4-431  in  the  second  subject. 

It  commences  with  the  first  phrase  of  the  first  subject  transposed 
into  the  key  of  C  major,  modulating,  in  bar  53,  apparently  to  F  major. 
The  tonality  of  the  next  few  bars  is,  however,  vague,  the  music  seeming 
to  waver  between  the  keys  of  F  major  and  D  minor.  The  chord  which, 
in  bars  53  and  54,  appears  as  the  last  inversion  of  the  dominant  minor 
ninth  in  F  major  is,  in  bar  55,  enharmonically  changed  to  the  first  inver- 
sion of  the  dominant  ninth  in  D  minor.  The  reason  for  this  alteration 
in  notation  is  obscure,  for  the  latter  chord,  like  both  the  others,  again 
resolves  on  the  dominant  seventh  in  F  major.  By  a  further  enharmonic 
change  the  last-named  chord  becomes,  in  bar  57,  the  German  sixth  in 
E  minor,  and  thus  effects  a  modulation  into  that  key.  A  most  interesting 
passage  commences  in  the  following  bar.  It  forms  a  real  sequence,  the 


*  Banister  cannot  recall  any  case  of  a  second  subject  in  the  dominant  minor 
key  prior  to  Beethoven.  This  remark  is  rendered  the  more  interesting  when  read 
in  conjunction  with  one  of  Prout's.  In  speaking  of  composers  prior  to  Mozart  and 
Haydn,  he  says  :  "  With  movements  in  a  minor  key,  we  find  in  the  older  sonata  form 
(as  in  the  Suite  forms  from  which  it  was  developed)  that  the  relative  major  and  the 
dominant  minor  are  about  equally  common  as  keys  for  the  Second  Subject."  Later 
on  he  adds:  "Haydn  and  Mozart  almost  invariably  introduce  their  second  subject 
in  the  relative  major  key."  ("  Applied  Forms.") 


f  Hadow  remarks  that  this  device,  i.e.,  the 
comparatively  rare  before  Beethoven. 


working  "   of  a  small  figure,  is 


SONATA  NO.   VIII.  49 

"  pattern "  of  which  is  four  bars  in  length.*  This  is  worked  with 
suspensions  on  the  figures  derived  from  the  first  subject  and  is  written 
throughout  on  successive  dominant  pedal  points.  It  lasts  twelve  bars 
and  passes  through  the  keys  of  E  minor  (58-61),  A  minor  (62-65),  an<^ 
D  minor  (66-/O1).  N.B. — The  only  alteration  in  the  "quality"  of  the 
intervals  occurs  between  the  last  two  notes. 

The  remainder  of  the  section  is  developed  from  the  two  bars  of 
the  second  subject.  Bars  70-72  form  a  descending  sequence  in  which 
the  figures  appear  in  the  treble  to  an  accompaniment  derived  from 
the  bass  of  the  codetta.  The  sequence  modulates  from  C  major  to  A 
minor,  on  a  half -cadence,  in  which  key,  VI F  6V,  the  section  closes,  bar 
79.  In  bars  74-781,  the  figures  are  taken  in  the  bass.  A  chromatic 
run  (79),  forms  a  link  between  the  free  fantasia  and  the  recapitulation. 


. zr^aak^-gr-f  - nrt:  rtjaizr-.ri— — 

-IP-J±^  f       Vfrrfcr 


Bertenshaw  quotes  the  above  extract,  in  reference  to  which  he  remarks  :  "It  will 
be  interesting  to  note  the  origin  of  this.  The  fragment  (d)  is  clearly  the  first  three 
notes  of  (a)  [=  the  first  three  notes  of  the  movement].  By  breaking  up  the  crotchet 
in  (d)  into  a  dotted  quaver  and  a  semiquaver  we  get  the  rhythmic  figure  j-L™'™''|"14 

which  is  the  foundation  of  the  remainder  of  extract  (c).  The  fragments  (e)  and  (f) 
are  merely  variations  of  (d)  ;  they  retain  the  rhythmic  figure,  at  the  same  time  being 
greatly  modified  in  melodic  outline  and  in  harmony.  The  third  and  fourth  bars  of 
(c)  are  free  sequential  imitations  of  the  second  bar."f 

(h)  The  first  part  of  the  transition  reappears  inverted  and  varied, 
its  opening  bars  are  founded  on  the  first  subject  and  are  not,  as  in  the 
first  instance,  a  repetition  of  them.  It  is  also  slightly  lengthened  and 
modified  so  as  to  end  in  the  key  of  the  tonic. 

*  Sequences  in  which  the  pattern  is  four  bars  in  length  are  of  comparatively 
rare  occurrence.  Still  more  rarely  do  we  meet  with  one  in  which,  as  in  this  instance, 
there  is  more  than  the  one  repetition  of  the  pattern. 

t  "  Rhythm,  Analysis,  and  Musical  Form,"  p.  356.    T.  H.  Bertenshaw,  B.A  ,  B.Mus. 

5 


50  MOZART'S  PIANOFORTE  SONATAS. 

(j)  The  second  subject  reappears  in  the  tonic  and  in  the  original 
minor* — not  in  the  major  mode. 

Note  the  chord  of  the  Neapolitan  sixth  in  A  minor,  bars  109  and 
119;  also  the  inversion  of  the  chromatic  chord  of  the  supertonic  ninth 
in  the  same  key,  bar  127. 

(k)  There  is  no  coda.  The  movement  ends  with  the  original  codetta 
transposed  into  the  key  of  the  tonic. 


SECOND   MOVEMENT. 

(a)  Though,  generally  speaking,  it  is  unusual  to  find  the  slow  move- 
ment in  sonatas  in  "  unabridged  sonata  form,"  there  are  several  examples 
to  be  found  in  those  written  by  Mozart  for  the  pianoforte  (see  Sonatas 
I,  V,  XIII  and  XV ;  also  second  movement,  Sonata  II  e  (ii),  page  1 1 ;  and 
note  to  Thematic  Scheme,  Sonata  III). 

(b)  The  first  subject  is   an  eight-bar  sentence,  of  which   the   first 
phrase  ends  on  a  half -cadence,  bar  4,  and  the  second — a  modified  repeti- 
tion of  the  first — on  a  full  cadence,  bar  8. 

(c)  The  transition  does  not  leave  the  key  of  the  tonic  but  ends  in  it  on 
a  half -cadence  on  the  dominant,  on  which  chord — taken  as  the  tonic  of  the 
new  key\ — the  second  subject  enters  in  the  following  bar.     Bars  IO2-I21 
are  a  varied  repetition  of  the  previous  two  bars. 

(d)  The  second  subject  consists  of  one  sentence,  much  prolonged  by 
cadential  repetitions.     In  bars  17-18  the  melody  of  the  previous  two  bars 
is  transferred  to  the  tenor  underneath  a  sustained  shake  on  the  dominant 
in  the  treble.     Bars  22-251  are  a  cadential  repetition  of  the  responsive 
phrase  with,  however,  a  fresh  commencement.     Bars  25-291  form  another 
and  still  more  modified  repetition  of  the  same. 

Note  the  incidental  modulation  to  D  minor,  bars  23  and  26,  and  the 
free  inversion  of  the  parts  in  bar  27. 

(e)  These  three  bars  are  marked  "codetta"  because,  after  a  careful 
comparison  of  various  similar  passages   and  of  the  views  of  different 
authorities  thereon,  the  balance  of  opinion  would  seem  to  be  in  favour 
of  thus  separating  them  from  the  second  subject.     The  combination  of 
a  tonic  pedal  with  more  or  less  transient  modulation  to  the  key  of  the 

*  Banister,  in  "Lectures  on  Musical  Analysis,"  says  that  in  movements  in  the 
minor  mode  Mozart  usually  made  his  second  subject  reappear  in  the  original  minor 
and  not  in  the  tonic  major,  and  "  in  all  cases  with  indescribable  change  of  impres- 
sion and  inviting  attention  to  the  harmonising  under  new  conditions." 

t  Mozart  makes  frequent  use  of  this  method. 


SONATA  NO.  VIII.  51 

subdominant  is  often  incidental  to  both  the  coda  and  the  codetta;  and, 
too,  the  end  of  the  second  subject  is  often  determined  by  the  presence 
of  a  shake,  accompanying  the  final  cadence  (see  bar  28).  Yet,  in  spite 
of  the  reasons  just  given,  in  this  instance  there  seems  to  be  no  real  need 
to  make  this  division.  The  three  bars  contain  but  a  reiterated  repetition 
of  the  final  cadence,  and,  moreover,  in  the  recapitulation,  the  second 
subject  concludes  with  a  repetition  of  them  in  practically  identical  form 
though  of  course  with  change  of  key. 

(f)  See  Sonata  I,  second  movement  (f),  page  4. 

(g)  Part  II  of  this  movement  consists  almost  entirely  of  an  episode, 
which  commences,  in  bar  37,  after  a  short  passage  reminiscent  of  the  first 
subject.     This  passage,  starting  in  C  major,  ends  with  a  perfect  cadence 
in  the  tonic  minor.     The  episode  is  worked  on  figures  derived  from  the 
opening  figure  of  the  transition  (*bars  S2^1)  accompanied  throughout  by 
triplets  of  semiquavers.     It  opens  in  C  minor  (37)  and  passes  through 
G  minor  (38-39)  to  D  minor  (40),  in  which  key,  in  bar  43,  the  previous 
parts  are  inverted;  thence  it  continues,  incidentally  touching  the  keys 
of   F   major  (44-45),  D   minor  (46-47),  C  minor  (47-48),   and   G  minor 
(48-49),  to  F  major,  in  which  key — after  the  parts  have  been  re-inverted 
—the  section  ends  on  a  half-cadence  t?VIIt  6V  (52-53).     Note  the  chord 
of  D  minor  VIG  6,  bar  42;  and  the  chromatic  chord,  F  major  ll[,9b,  bar  51. 

(h)  The  transition  reappears  modified.  It  commences  like  the  ori- 
ginal passage  but  modulates  in  the  second  bar  (62)  to  B  flat  major, 
thence  (in  64)  to  G  minor,  returning  to  the  key  of  F  major  in  the  last 
bar  only  (67).  . 

(j)  The  second  subject  reappears  in  the  key  of  the  tonic  slightly 
modified  and  lengthened.  In  bar  70,  it  modulates  to  B  flat  major,  the 
repetition  of  the  opening  bars  appearing  in  that  key  instead  of  in  the 
tonic.  After  the  return  to  the  tonic  (bar  75)  the  close  of  the  movement 
is  a  slightly  modified  repetition  of  the  corresponding  portion  of  the 
exposition. 

THIRD   MOVEMENT. 

(a)  See  Sonata  III,  third  movement  fRondo)  a,  page  17.  Like  the 
Rondo  above-mentioned  and  the  finale  of  Sonata  VII,  this  movement  com- 
bines certain  features  of  sonata  form  with  the  older  type  of  rondo  (see 

*  The  connection  between  these  figures  is  interesting  and  can  easily  be  recog- 
nised by  starting  the  broken  chord  of  C  minor — in  the  melody  of  bar  37 — an  octave 
lower,  and  carrying  it  in  semiquavers  over  two  octaves. 


52  MOZART'S  PIANOFORTE  SONATAS. 

Thematic  Scheme).  In  order  to  gain  a  clear  conception  of  the  plan  of 
the  movement  the  best  method  seems  to  be  to  analyse  it  as  a  "  simple 
rondo,"  at  the  same  time  carefully  noting  the  modifying  features. 

Thus  viewed  the  whole  of  the  modulating  portion  of  the  movement 
between  the  first  and  second  entries  of  the  principal  subject  forms  one 
long  episode,  a  part  of  which  is  reproduced,  towards  the  end  of  the 
Rondo,  in  the  key  of  the  tonic.  The  episode  commences  and  ends  with 
passages  which  serve,  as  connecting  links  with  the  principal  subject  (see 
note  **  to  Thematic  Scheme),  and  on  this  subject  it  is,  for  a  great  part, 
founded. 

When  viewing  the  movement  from  the  other  standpoint,  the  fol- 
lowing interesting  detail  is  brought  more  prominently  into  notice.  The 
portion  of  the  Exposition,  analysed  above  as  Episode  I,  contains  two 
variations  of  the  principal  subject.  The  first,  in  the  keys  of  C  minor 
and  C  major,  commences  bar  29;  the  second,  in  the  key  of  E  minor,  in 
bar  64;  and  it  is  the  latter  of  these  variations  which,  in  the  exposition, 
constitutes  the  second  subject.  In  the  recapitulation,  however,  this  subject 
is  formed  by  a  commingling  of  the  two  variations.  For  whilst  repro- 
duced with  the  details  of  accompaniment  which,  in  the  exposition,  are 
associated  with  the  second  variation,*  the  transposed  melody  itself  is  a 
reproduction  of  the  first. t 

(b)  The   principal    subject    is    a   sixteen-bar   sentence,    in    four-bar 
rhythm,  prolonged  to  twenty  bars  by  cadential  repetition.     The  second 
phrase  ends  on  a  half-cadence,  bar  8;  the  fourth,  with  an  interrupted 
cadence,  bar  16,  and,  on  its  repetition,  with  a  full  cadence,  bar  20. 

(c)  This  forms  a  link,  or  passage  of  transition,  leading  to  the  first 
episode. 

(d)  Analysing  the  movement  on  the  basis  of  that  of  the  older  type 
of   Rondo,  this  melody   forms   the  first  portion   of  Episode   I.     When 
viewing  the  movement  from  the  other  standpoint,  however  (see  a,  par.  3), 
it  cannot  be  considered  as  a  first  section  of  the  second  subject  though, 
at  first  sight,  it  looks  as  if  it  might  be  so.     In  the  first  place,  the  key  in 
which   it   starts— the  mediant   minor — would   be   very   irregular;   and   a 
second  irregularity  would  be  that  the  four-bar  phrase,  bars  52-55  (though 
afterwards  repeated  in  A  minor,  the  tonic)  -first  reappears  in  the  recapitu- 
lation in  D  minor — the  same  key  in  which  it  appears  in  the  exposition. 
The  sequential  character  of  the  whole  of  this  passage,  as  of  the  greater 

*  The  melody  is  taken  by  inversion  and  in  octaves,  etc.,  etc. 
f  I.e.,  the  principal  portion  of  it. 


SONATA  NO.   VIII.  53 

portion  of  the  movement,  should  be  noted.     Bars  56-57,  in  D  minor,  and 
58-59,  in  E  minor,  form  a  real  sequence. 

(e)  This  passage,  when  considered  as  a  second  subject,  is  unusual 
both  in  key  and  contents.     In  key,  because  in  movements  in  the  minor 
mode  in  regular  Rondo-Sonata  form,  the  second  subject  is  always  in  the 
relative  major*     In  its  contents,  it  is  unusual,  because  they  include  no 
fresh  musical  idea  whatever.     For,  not  only  does  the  passage  commence 
with  a  variation  of  the  principal  subjectt — here  also  taken  with  inversion 
of  parts — but,  too,  its  continuation  is  founded  entirely  on  a   -previous 
passage,  transposed  into  the  key  of  the  dominant  minor.*    Looking  upon 
the   foregoing,   however,   as   the  continuation   of   an   episode   in   simple 
Rondo   form,  the  above-mentioned   points,  though  of  interest  to  note, 
cannot  be  termed  exceptional. 

(f)  Note  the  sequence  in  the  bass  and  inner  part  in  the  first  eight 
bars  of  this  passage,  which  ends  on  a  half-cadence,  A  minor  VIIt  6,V. 
Note  also  the  chord  of  the  Neapolitan  sixth  in  the  previous  passage  (75). 

(g)  The  close  of  the  exposition  is  exceptional.     Instead  of  ending 
with  the  second  entry  of  the  principal  subject,  the  latter  leads  without 
break  into  a  modified  reproduction,  in  the  key  of  the  tonic,  of  a  portion 
of  the  previous  episode.     This  is  the  only  instance  of  the  kind  to  be 
found  in  Mozart's  pianoforte  sonatas.  § 

(h)  See  "  Tema,"  Sonata  VI,  third  movement  (a),  page  37.  Although 
the  essential  characteristics  of  the  "ternary"  idea,  viz.,  "divergence  and 
recurrence,"  are  not  so  clearly  defined  here  .as  in  the  above-mentioned 
Tema,  yet  indications  of  both  are  so  far  evident  that  it  seems  perfectly 
consistent  to  describe  this  episode  as  an  example  of  a  similar  Hybrid 
form.  That  is  to  say  the  musical  idea  is  ternary,  though  the  shape  in 
which  it  is  clothed  closely  resembles  the  binary.  For  though  the 
"  return  "  is  not  to  the  first  phrase^  yet  it  is  to  the  first  half  of  Part  /, 

*  Prout  points  out  the  interesting  fact  that  ''Beethoven,  who  made  many  in- 
novations as  to  the  key  of  the  second  subjects  in  his  Sonata  movements,  never  tried 
similar  experiments  in  his  Rondos."  (See  "  Applied  Forms.") 

f  Such  a  commencement  for  a  second  subject  is  not  in  itself  unusual  with  the 
earlier  classical  composers,  who  frequently  founded  the  first  portion  of  the  second 
subject  on  the  first  subject. 

\  This  also  is  taken  by  inversion. 

§  Hadow  refers  to  this  movement  as  an  example  of  one  in  which  Mozart  makes 
"  noticeable  experiments  of  detail." 

||  The  nature  of  a  "return  "  to  Part  I  is  one  of  the  characteristics  that  differ- 
entiate between  the  Binary  and  the  Ternary  Pornis.  A  "return"  to  the  opening 
phrase  is  essential  to  the  latter,  whilst  one  to  the  final  phrase  only — whether  to  the 
whole  or  merely  a  portion  of  it — marks  the  Binary. 


54  MOZART'S  PIANOFORTE  SONATAS. 

i.e.,  to  the  second  phrase  of  four.  And  the  reappearance  of  the  tonic 
pedal  with  which  it  is  accompanied  helps  to  strengthen  the  feeling  of 
return  to  the  opening  portion  of  the  melody.  For  the  pedal,  over  which 
the  first  three  phrases  of  Part  I  are  written,  is  discontinued  under  the 
fourth — the  final  one. 

(j)  This  episode  is  in  the  tonic  major  and  starts  with  a  fresh  melody. 
It  is,  however,  most  interesting  to  note  how  intimately  it  is  connected 
with  Episode  I.  Compare  the  phrases,  bars  147-150,  and  bars  25-28. 

(k)  This  passage  starts  in  D  minor  and  modulates  to  A  minor, 
passing  transiently  through  E  major;  bars  195-198  thus  form  a  short 
modulating  sequence.  The  points  of  similarity  and  contrast  between 
this  passage  and  the  earlier  one  (bars  21-28)  should  be  noted. 

(1)  See  (a),  Par.  3.  The  latter  portion  of  the  recapitulation  of  the 
second  subject  is  a  slightly  modified  repetition  of  the  corresponding 
portion  of  the  original  passage. 

(m)  The  coda  refers  entirely  to  Episode  I.    See  (a),  Par.  2. 


SONATA  No.  IX*  IN  D  MAJOR  (K.  311),  (1778). 
THEMATIC  SCHEME. 

A  Ilegro  con  spirito  ^  ,     ,     '  » 

lfe^=P^=t2E^^-feSs 


In  three  movements. 


FIRST  MOVEMENT  —  "  AL 
EXPOSITION. 

a)f  First  Subject  in  Tonic, 
b)  Bridge-p  assage      or 
Transition        (overlap- 
ping), 
(c)  Second    Subject    in    A 
major  (Dominant), 
[d)    (First  sect'n  164-  241  1 
^    \Second    „     24-1-361) 
(f)  Codetta. 
Double  bar  and  repeat 

LEGRO  CON  SPIRITO,"  IN  D  MAJOR.     SONATA  FORM. 
Bars.        FREE  FANTASIA.              RECAPITULATION.                Bars. 

1-71 

7-163 
lC-t-361 

• 

36-39 

(g)  Bars  40-783. 

(h)  Second    Subject    in 
Tonic. 
/  First  section  784-863.    ) 
(Second  section  87-99LJ 
(j)    First  Subject  in  Tonic 
overlapping). 

(k)  Coda. 

784-991 

99-1051 
105-112 

SECOND  MOVEMENT—"  ANDANTE  CON  ESPRESSIONE,"  IN  G  MAJOR  (KEY  OF  THE 
SUBDOMINANT).     (a)  OLD  RONDO  FORM. 


(b)  Principal  Subject    (first  entry)       

Double  bar  and  repeat  (at  end  of  bar  11). 

(c)  Link         

(d)    Episode  I          

(i)  New  melody  in  D  major  (Dominant) 16^-24^ 

(ii)  Second  portion  commencing  with  a  reference  to  Principal  Sub-  j- 

ject          25-38  j 

Principal  Subject  (second  entry)  slightly  varied 

(e)  Link  of  two  bars 

Episode  II:  melodies  from  Episode  I  repeated  in  G  major  (Tonic)    ... 
<f)    Principal  Subject  (third  entry)  lengthened,  and  again  slightly  varied 


Bars. 


1-121 

122-161 
162-38 


39-501 
502-521 
522-74 

75-93 


*  See  Sonata  VII,  note  *  (ii)  to  Tabulated  Scheme. 

t  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
text. 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT- 
EXPOSITION. 

RONDO, 
Bars. 

"ALLEGRO,"  IND 
EPISODE. 

MAJOR. 
Bars. 

(a)  SONATA  RONDO 
RECAPITULATION. 

FORM. 
Bars. 

(b)  Principal  Subject 
in     Tonic     (first 

(g)  Bridge  or  Trans- 
itional passage. 

102-118 

Principal  Subject  in 
Tonic   (third  en- 

entry). 

To  161 

(h)  New    Melody    in 

try). 

1732-1891 

(c)  Passage  of  Trans- 

the   keys    of     B 

(j)    Passage  of  Trans- 

ition. 

16-40 

minor    and    G 

ition. 

1892-205 

Second     Subject 

major. 

119-1541 

Second     Subject 

in      A      major 

Bridge  or  Trans- 

i 11     D     major 

(Dominant). 

41-791 

itional      passage 

(Tonic). 

206-2461 

(d)   j§I  1.  41-56.) 

and  Cadenza. 

154-173 

f   §  1.  206-221  \ 

(e)   f§   2.   56-791.  j" 

(§    2.   221-2461  J 

Link,      modulating 

Link  leading  to 

246-2501 

and  leading  to 

79-85 

Double  bar. 

<f)    Principal     Sub- 

(k) Coda. 

2502-271 

ject    in    Tonic 

(second  entry). 

862-1021 

+  The  symbol   §   is  here  employed  to  denote  a  section  of  a  subject. 


FIRST   MOVEMENT. 

(a)  The  first  subject  is  only  seven  bars  in  length.     It  is  an  eight- 
bar  sentence  contracted  to  seven  by  overlapping  of  the  two  phrases  in 
bar  4.* 

(b)  The  transition  overlaps  the  first  subject.     In  bar   1 1   the  semi- 
quaver figures  are  transferred  to  the  treble.     The  passage  is  entirely  in 
the  key  of  the  tonic,  in  which  it  ends  on  a  half -cadence,  bar  i6.t 

(c)  The  second  subject,  in  the  key  of  A  major  (the  dominant),  is 
divided  into  two  sections,  each  ending  with  a  perfect  cadence. 

(d)  The  first  section  is  an  eight-bar  sentence  consisting  of  two  four- 
bar  phrases,  the  second  of  which  is  a  modified  repetition  of  the  first, 
altered  so  as  to  close  on  a  full,  instead  of  on  a  half,  cadence. 

(e)  The  second  section  is  of  great  importance,  as  the  principal  portion 
of  it  (282-361)  appears  in  the  Free  Fantasia  transposed  en  masse  into  the 
key  of  G  major. 

The  opening  four  bars  (24-281)  consist  simply  of  repetitions  of  one 
motive. 


*  See  (b),  paragraph  ii,  first  movement,  Sonata  VII,  page  42. 

t  Bertenshaw  evidently  considers  that  there  is  no  specific  passage  of  transition 
in  this  movement,  but  that  the  first  subject  continues  to  bar  16.  See  his  analysis  of 
the  Free  Fantasia  of  the  movement  ("Rhythm,  Analysis  and  Musical  Form'"),  in 
which  he  speaks  of  the  last  thirteen  bars  as  being  founded  on  this  passage,  but  refers 
to  it  as  "  a  part  of  the  first  subject "  (cf.  Sonata  I,  first  movement  (b),  page  2^. 


SONATA  NO.   IX.  57 

Starting  in  the  left  hand  part  this  motive,  though  always  containing 
the  same  notes,  is  sounded  at  each  repetition  at  a  different  pitch.  In 
bar  26  the  parts  are  inverted,  but  by  their  crossing  in  27  they  become 
re-inverted. 

Bars  282-361,  above  referred  to,  form  a  melody  in  two-bar  rhythm 
in  which  not  only  are  the  third  and  fourth  phrases  a  repetition  of  the 
first  and  second;  but  all  four  phrases  commence  alike  with  the  same 
opening  three  notes. 

(f)  Bars  38-39  form  part  of  a  small,  but  very  important,  codetta. 
They  are  founded  on  the  slurred  quavers  in  bar  29  and  form  the  source 
from  which  the  first  eighteen  bars  of  the  Free  Fantasia  are  developed. 

(g)  As  just  mentioned,  the  Free  Fantasia  starts  with  eighteen  bars 
developed  from  the  codetta*;  in  this  passage  imitation  appears  in  nearly 
every  bar.     Bars  44-47,  in  D  major,  are  in  sequence  to  the  previous  four 
bars  which  are  in  E  minor,  and  bars  50-5 1  are  freely  sequential  to  48-49, 
the  music  modulating  to  B  minor,  in  which  key,  after  incidentally  touch- 
ing G  major,  there  is  a  perfect  cadence  in  bar  5 5-1"     ^n  5^"57  ^  modulates 
definitely  to   G  major,  into  which  key  the  greater  part  of  the  second 
section  of  the  second  subject  now  appears  transposed  (bars  58-661).    The 
remainder  of  the  development  is  derived  from  the  transition,!  the  last 
few  bars  being  identical;  the  rhythm  in  the  bass  of  the  earlier  portion 
of  this  passage,  however  (bars  66,  etc.)  is  probably  suggested  by  that  in 
bar  36.     Note  the  chord  of  the  augmented  sixth  in  B  minor,  bar  52. 

(h)  A  noteworthy  feature  of  this  movement  as  regards  its  form,  is 
the  exceptional  recapitulation  of  the  second  subject  before  the  first.  The 
modulation  to  the  tonic  minor  (bars  83-86)  should  be  noted,  and  also 
that  here  the  first  section  of  the  second  subject  ends  on  a  half -cadence 
in  the  minor,  approached  through  the  chord  of  the  augmented  sixth, 
instead  of  on  a  full  cadence  in  the  major,  as  in  the  exposition.  Still 
another  point  which  differs  in  the  recapitulation  of  this  subject  is  that 
there  is  an  interval  of  nearly  half  a  bar  between  the  two  sections.  In  the 
bass  this  interval  is  filled  by  a  link  of  a  few  notes. 


*  Vide  first  movement  of  previous  sonata,  footnote  f  to  (g),  page  48. 

t  The  tonality  of  a  portion  of  the  preceding  passage  is  vague.  Dr  Fisher  con- 
siders bar  48  to  be  in  A  major  :  50.  in  B  minor  ;  and  51,  in  F  sharp  minor.  But 
although  the  G  sharp  (484),  followed  by  the  chord  of  the  dominant  seventh,  in  A 
major  (491-2)  may  suggest  this  key,  and  corresponding  indications  in  50-51  may 
suggest  F  sharp  minor,  in  neither  instance  is  there  any  definite  modulation  to  the 
suggested  key. 

I  See  supra  note  f  to  (b). 


58  MOZART'S  PIANOFORTE   SONATAS. 

(j)  The  first  subject  reappears  immediately  after  the  second  subject, 
overlapping  it. 

(k)  The  short  coda  ends  with  a  repetition  of  the  final  bars  of  the 
exposition,  transposed  into  the  key  of  the  tonic. 

SECOND  MOVEMENT.. 

(a)  An  interesting  feature  as  regards  the  form  of  this  movement  is 
that  it  can  consistently  be  classified  under  more  than  one  head;  it  follows 
naturally  that  in  neither  case  will  it  be  an  absolutely  regular  example. 

Classified  in  the  older  rondo  form  (as  in  the  accompanying  Thematic 
Scheme*)  the  irregularity  is,  that  the  second  episode  is  not  new  but  is  a 
repetition  of  the  first  one  in  another  key,  viz.,  in  that  of  the  tonic  (see 
also  Rondo  Polonaise,  Sonata  VI).  Apropos  of  this,  however,  Berten- 
shaw  remarks  that  "  the  object  of  an  episode  is  to  give  variety,  and  this 
is  sufficiently  attained  here  by  means  of  key  contrast'' 

On  the  other  hand  Goetschius  classifies  the  form  as  an  "  augmenta- 
tion of  the  sonatine-form."t  He  considers  that  when  bar  74  is  reached 
"  the  regular  sonatine-design  has  been  achieved  fully  though  concisely  "" 
and  regards  the  last  nineteen  bars  as  a  "  superfluous  recurrence  of  the 
principal  theme  "  added  in  the  place  of  the  customary  coda.  ("  Lessons  in 
Music  Form.") 

(b)  The  principal   subject   is   an   eight-bar   sentence,  extended,   by 
cadential  repetitions,  to  bar  12. 

(c)  These  bars  start  in  E  minor  and  modulate  to  D  major  and  A 
major,  the  tonic  chord  of  A,+  however,  being  immediately  quitted  as  the 
dominant  in  D  major,  in  which  key  Episode  I  occurs. 

(d)  This  episode  commences  with  a  new  melody  which,  however, 
after  eight  bars,  gives  place  to  a  return  to  the  opening  of  the  principal 
subject,  now  in  the  key  of  D  major§  (bar  25).     Bars  27-8  are  an  inver- 
sion of  25-26.     Bars  29-32,  repeated  slightly  modified  in  33-36,  form  a 
short  sequential  passage,  with  transient   modulation  through  B   minor, 

*  The  author  decides  to  retain  her  original  analysis  of  this  movement  as  in  Older 
Rondo  Form  in  the  Thematic  Scheme,  because  out  of  four  further  analyses  of  it 
with  which  she  has  met,  two — viz.,  those  by  T.  H.  Bertenshaw  and  Ridley  Prentice 
— are  in  agreement  with  this  classification. 

f  Dr.  H.  Fisher  designates  it  "modified  sonata  form."  ("The  Musical 
Examiner.") 

|  See  Sonata  III,  third  movement,  footnote  to  (k),  page  20. 

§  Bertenshaw  draws  attention  to  the  fact  that  it  is  by  no  means  uncommon  in 
an  episode  to  find  a  reference  to  the  principal  subject.  ("  Rhythm,  Analysis  and 
Musical  Form.") 


SONATA  NO.   IX  59 

G  major  and  E  minor  back  to  D  major,*  and  lead  to  a  full  cadence  in  D, 
bar  38,  with  which  this  episode  closes. 

(e)  The  previous  link  (bars   12-16)  is  repeated  here,  but  contracted 
to  two  bars.     It  consists  of  the  chord  of  the  Italian  sixth  resolving  on 
to  the  chord  of  the  dominant  in  G  major. 

(f)  At  the  final  entry  the  principal  subject  is  varied  by  further  orna- 
mentation, and  is  considerably  lengthened  by  cadential  repetitions. 

THIRD   MOVEMENT. 

(a)  The  form  of  this  Rondo  is  planned  throughout  on  that  of  the 
newer  type ;  it  is  of  interest  to  note  that  this  is  the  first  movement  in  these 
sonatas  which  is  definitely  in  this  form.f 

(b  and  c)  Earlier  in  the  work  we  pointed  out  that  a  special  interest 
attaches  to  Mozart's  Rondos  owing  to  the  fact  that,  with  him,  this  form 
is  in  a  state  of  evolution.  It  can  be  readily  understood  that  this  same 
fact,  which  adds  so  greatly  to  the  interest  of  the  work  of  the  student  of 
construction,  at  the  same  time  increases  his  difficulties,  inasmuch  as  it 
tends  also  to  add  to  the  number  of  possible  methods  in  which  the  con- 
tents of  each  rondo  can  be  analysed.  One  of  the  difficulties  which 
hitherto  has  presented  itself,  viz.,  the  possibility  of  considering  the  Rondo 
from  the  two  standpoints — either  that  of  the  older,  or  that  of  the  newer, 
type — is  absent  in  this  instance,  the  form  being  clearly  that  of  the  newer 
type.  The  difficulties  in  this  movement  arise  from  the  fact  that  it  is 
possible  for  certain  passages  and  bars  to  be  viewed  in  more  than  one 
way ;  and,  of  these  passages,  perhaps  the  most  important  is  that  from  bar 
1 6  to  bar  26. 

This  has  been  variously  analysed  : 

(i)  As  a  continuation  of  the  principal  subject — in  which  case  the 
latter  would  end  in  bar  26; 

(ii)  As  the  commencement  of  the  transition — in  which  case  the 
principal  subject  would  end  in  bar  16; 

(iii)  As  partly  principal  subject,  and  partly  the  transition,  the  first 
eight  bars  being  taken  as  a  continuation  of  the  former — which  would 

*  Prout  applies  the  term,  "transitional  dominants"  to  the  dominant  sevenths 
in  similar  series  of  dominant  sevenths  and  tonic  harmonies,  i.e.,  where  the  new 
tonic  chords  are  also  chords  in  the  previously  established  key. 

f  We  may  here  call  attention  to  the  fact  that,  as  a  rule,  in  sonatas,  it  is  only  the 
Finale  which  is  ever  written  in  the  Sonata-Rondo  Form.  Where  a  first,  or  midc'Ie, 
movement  is  a  Rondo,  it  is  always  in  the  form  of  the  older,  and  simpler  type.  See,  how- 
ever, the  slow  movement  in  Schumann's  String  Quintet  On.  44. 


60  MOZART'S  PIANOFORTE  SONATAS. 

thus  end  in  bar  24. — whilst  the  final  two  bars  are  considered  as  the  com- 
mencement of  the  transition. 

Naturally  arguments  are  brought  forward  both  for  and  against  each 
of  the  above  analyses,  and  it  is  evident  that,  no  matter  to  which  one  of 
the  views  we  incline,  some  passage  or  passages  during  the  course  of  the 
movement  will  inevitably  appear  either  unusual  or  irregular. 

Of  the  three,  we  prefer  the  analysis  at  ii  (see  also  Thematic  Scheme) 
which  is  the  one  given  by  Mr.  Hadow*  and  Dr.  Fisher.  Against  this,  the 
argument  may  be  advanced  that,  whilst  the  reiterated  perfect  cadences  in 
the  key  of  the  tonic,  with  which  the  passage  in  question  closes,  render  its 
whole  character  inconsistent  with  that  of  a  transition,  they  are  at  the 
same  time  eminently  characteristic  of  the  close  of  a  principal  subject. 
On  the  other  hand,  however,  Hadow  calls  attention  to  the  fact  that 
in  Mozart's  time,  the  principal  subject  of  a  Rondo  usually  consisted  of 
"one  clean-cut  lyric  stanza"  only,  and,  moreover,  that  Mozart  himself  not 
infrequently  began  his  transitions  with  a  passage  in  the  tonic.  As  an 
instance  of  such  treatment,  he  quotes  the  Rondo  of  the  Sonata  in  C  major 
(No.  VII),  in  which  movement  there  can  be  no  doubt  as  to  the  point  at 
which  the  principal  subject  ends  and  the  transition  commences. t 

And  again,  if  we  once  realise  that  it  is  possible  for  the  passage  in 
question  to  form  a  portion  of  the  transition,  the  construction  of  the 
remainder  of  the  Rondo  becomes  clear,  and  we  find  that  it  is  perfectly 
regular.  Whereas — no  matter  whether  we  incline  to  the  view  that  the 
principal  subject  ends  in  bar  24,  or  in  bar  26 — further  difficulties  and 
irregularities  as  to  construction  will  appear  during  the  course  of  the 
movement  (see  infra  f). 

Of  these  last  two  views,  however,  we  prefer  the  latter,  and  for  the 
following  reasons. 

(i)  Although,  on  account  of  the  third  of  the  tonic  chord  being  in  the 
highest  voice,  the  cadence,  in  bars  242-261,  is  rendered  rather  indefinite, 
still  the  contents  of  these  bars  form  but  another  repetition  of  the 
perfect  cadence  in  the  key  of  the  tonic — and  they  are  therefore  intimately 
connected  with  the  perfect  cadence  which  has  immediately  preceded 
them.  On  the  other  hand,  not  only  do  they  bear  no  particular  reference 
to  the  passage  which  follows  (the  commencement  of  the  transition,  accord- 
ing to  the  view  we  are  now  supporting)  but,  by  the  process  of  elimina- 
tion, the  responsive  phrase  in  the  latter  passage  (commencing  bar  3O2) 

*  Mr.  Hadow  considers  that  the  analysis  at  (i)  belongs  rather  to  a  first-move- 
ment form  than  to  a  Rondo. 

t  Viz.,  in  bar  19. 


SONATA  NO.   IX.  6 1 

tends  to  prove  that  they  do  not  form  a  part  of  the  transition  at  all.  For, 
if  the  transition  is  considered  to  start  immediately  after  the  bars  in 
question — instead  of  with  them — its  two  phrases  (^the  fore  and  after) 
correspond  in  so  many  details,  as  to  afford  presumptive  evidence  that  the 
later  point  is  the  real  commencement  of  the  passage. 

(ii)  With  the  exception  of  the  omission  of  ten  bars,  of  which  the  two 
in  question  form  the  closing  measures,  the  recapitulation  in  this  move- 
ment is  practically  a  repetition  of  the  exposition.  According  to  this 
view,  therefore,  the  missing  ten  bars  form  one  passage  (a  portion  of  the 
principal  subject),  which  is  thus  omitted  in  its  entirety,  whilst,  according 
to  the  other  view,  the  first  eight  bars  belong  to  one  passage,  and  the 
remaining  two  to  another,  of  which  they  alone — the  opening  measures — 
are  missing  in  the  repetition. 

(d)  The  first  section  of  the  second  subject  consists  of  a  sixteen-bar 
sentence  m  four-bar  rhythm.     There  is  a  half-cadence  in  the  eighth  bar, 
followed  by  a  variation  of  the  first  half  of  the  sentence,  modified  also  to 
end  with  a  full,  instead  of  a  half,  cadence.     In  this  section,  however,  a 
special  point  to  notice  is  the  imitation  of  the  opening  motive  in  the  bass 
of  bars  42-43,  and  50-51. 

(e)  The  second  section  consists  of  an  eight-bar  sentence  which  is 
repeated,  trie  repetition  being  prolonged  by  cadential  extensions  lying 
both  within,  and  beyond  the  cadence.    Whether  this  section  starts  on  the 
second  beat  in  bar  56,  or  with  the  commencement  of  the  following  bar,  is 
not  a  vital  point,  but  is  still  one  of  some  interest  to  consider.     A  com- 
parison of  the  opening  phrase  with  its  repetition,  bars  59-60,  would  seem 
to  indicate  the  commencement  of  bar  57  as  the  starting-point;  and  yet 
the  ear,  which  is  above  all  the  guide,  seems  most  decidedly  to  detect  a 
division  of  the  phrases   in  the  previous  bar.     In  this  case,  the  second 
beat  in  bar  56  forms  a  melodic  prefix  to  the  first  phrase. 

(f)  The  end  of  the  exposition  is  the  second  important  point  on  which 
there  is  a  difference  of  opinion;  it  has  been  variously  placed  in  bar  102, 
and  in  bar  1 10.* 

Taking  the  view  that  the  principal  subject  consists  of  the  one  six- 
teen-bar  sentence  only,  there  is  no  doiibt  whatever  on  that  point,  for  the 
exposition  ends  quite  regularly,  in  bar  102,  after  a  complete  re-entry  of 
the  principal  subject  in  the  key  of  the  tonic  (see  supra  b,  c,  paragraph  4). 

*  If  the  passage,  bars  102-110,  is  to  be  considered  the  closing  passage  of  the  ex- 
position, it  follows  that  those  who  also  consider  that  the  principal  subject  continues 
to  bar  2G:  will  place  the  end  of  the  exposition,  not  in  bar  110,  but  in  bar  112. 


•62  :,1OZART'S   PIANOFORTE   SONATAS. 

According  to  either  of  the  other  two  analyses  the  end  of  the  exposition 
.is  bound  to  be  unusual,  no  matter  whether  it  is  considered  to  close : 

(i)  in  bar  102 — in  which  case,  although  it  ends  in  the  key  of  the 
tonic,  it  is  with  but  a  partial  re-entry  of  the  princi- 
pal subject :  or, 

(ii)  in  bar  1 10  (or  1 12*) — in  either  of  which  cases  the  exposition  ends 

with  a  complete  re-entry  of  the  principal 
subject,  but  under  most  exceptional  con- 
ditions, viz.,  it  closes  in  the  key  of  the 
sub -dominant.^ 

Of  these  two  analyses  that  at  (i)  would,  to  our  mind,  be  preferable. 

(g)  This  passage,  founded  on  the  first  portion  of  the  transition, 
forms  the  opening  passage  in  Part  II.  It  modulates  and  leads  into  the 
episode  in  the  keys  of  B  minor  and  G  major.  In  bars  Ii22-ii8,  the  pre- 
ceding cadence  is  transposed,  successively,  into  E  minor  and  D  major, 
and  then — converted  into  a  half -cadence — into  the  key  of  B  minor. 

(h)  The  episode  proper  commences  with  a,  melody  in  B  minor  ending 
•on  a  half-cadence,  bar  126,  after  which  the  same  melody  is  repeated, 
inverted  and  lengthened,  ending  this  time  on  a  half -cadence  in  G  major, 
138.  A  second  melody,  founded  however  on  the  first  (or  as  some  may 
prefer  to  call  it,  a  second  part  of  the  first  melody)  follows  in  the  latter 
key.  The  episode  is  succeeded  by — or  concludes  with — a  second  transi- 
tional passage  (bars  154-173).  Opening  in  similar  manner  to  the  one 
which  precedes  the  episode,  it  modulates  from  G  major,  through  E  minor, 
D  major  and  A  major  to  D  major,  and  ends,  after  a  short  pedal  on  A, 
with  a  cadenza  leading  to  the  recapitulation  of  the  principal  subject. 

(j)  The  transition  is  modified,  so  as  to  lead  into  the  second  subject 
in  the  key  of  the  tonic. 

(k)  The  coda  commences  with  a  partial  re-entry  of  the  principal 
subject  (the  second  portion),  followed  by  the  first  portion  of  the  transi- 
tion, the  latter  being  prolonged  by  cadential  repetition. 


*  See  footnote  on  previous  page. 

t  Hadow  considers  the  treatment  of  the  upward  arpeggio-passage,  bars  102-1041, 
to  be  more  like  that  of  a  transition  than  that  of  a  subject. 


SONATA  No.  X,  IN  C  MAJOR  (K.  330),  (1/79*). 
THEMATIC  SCHEME. 

Allegro  moderato 


?    f 


7n 


movements. 


FIRST  MOVEMENT—"  ALLEGRO  MODERATO,"  IN  C  MAJOR.     SONATA  FORM. 

EXPOSITION. 

Bars.        FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

<a)f 

First  Subject  in  Tonic. 

1-161 

(h)  Bars  59—87. 

First  Subject  in  Tonic. 

88-1031 

(b) 

Bridge-p  assage      or 
Transition        (overlap- 

Bridge-p assage     or 
Transition    (unaltered, 

(c) 

ping)- 
Second    Subject    in    G 

16-18 

overlapping), 
(j)    Second    Subject    in    G 

103-105 

major  (Dominant). 

19-541 

major  (Dominant)  and 

C  major  (Tonic). 

106-1411 

<d) 

f  First  §1  19-3U   \ 

(   First  §    106-1211.      } 

(«) 

\  Second  §  342-421  \ 

\   Second  §  1212-1291.  i 

<f) 

(Third  §  42-1-541  J 

I  Third   §   129-1-1411.  J 

(g) 

Codetta. 

54-58 

(k)  Coda. 

141-150 

Double  bar  and  repeat. 

(1)    Double  bar  and  repeat. 

SECOND  MOVEMENT—  "  ANDANTE  CANTABILE,"  IN  F  MAJOR  (KEY  OF  THE  SUB- 

DOMINANT),     (a)  MINUET  AND  TRIO  FORM. 

PART  I. 

Bars. 

PART  II.                       Bars.    \          PART  III. 

(=  the  Minuet.) 

Episode  in  F  minor  (Tonic- 

Minor    =    the  Trio). 

BINARY  FORM. 

BINARY  FORM. 

Par  t  i  : 

Part  i  : 

(b) 

Eight-bar    Sentence    in 

To  81 

(d)  Eight-bar    Sentence    in  20-2-281  ;:       Repetition      of 

F  major  (Tonic)  and  C 

F    minor    and    A    flat                          Pt.   I  (without 

major  (Dominant). 

major  (relative  major).                           repeats). 

Double  bar  and  repeat. 

Double  bar  and  repeat.                    :Bars  40-2-601. 

Part  ii: 

Part  ii  : 

<c) 

Sentence  of  twelve  bars, 

8-2-201 

Eight-bar  Sentence  28-2-361 

starting    in    G    minor, 

modulating  back  to  F 

modulating  back  to  key 

minor. 

of  F  major. 

Double  bar  and  repeat 

Double  bar  and  repeat. 

(e)  First  phrase  of  Episode  36-2-401 

(f)  Coda 

60-2-64. 

repeated     on     Tonic 

pedal,     slightly    modi- 

fied, and  ending  on  per- 

fect cadence. 

*  There  is  some  uncertainty  as  to  the  date  at  which  Sonatas  X,  XI  and  XII  were  written.  They  ap- 
peared in  Vienna  in  1779,  as  Op.  6,  but  whilst  cataloguing:  them  amongst  the  works  composed  in  that  year. 
Kochel  draws  attention  to  the  fact  that  they  were  composed  probably  at  a  much  earlier  date,  viz.,  towards 
the  end  of  the  year  1770. 

t  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
text. 
+  The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject. 


64 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT—  "  ALLEGRETTO,"  IN  C  MAJOR.     SONATA  FORM. 
EXPOSITION.  Bars,    n    FREE   FANTASIA.  RECAPITULATION. 


(a)  First  Subject  in  Tonic. 

(b)  Bridge-p  assage      or 

Transition. 

S  e  c  o  n  d     Subject    in 

G   major    (Dominant). 

(c)  j  First  §  33-46  or  471.) 

(d)  (Second  §  47-611.       J 

(e)  Codetta. 

Double  bar  and  repeat. 


1-20 


21-32 
33-611 


612-68 


](f)  Bars  69-95. 


First  Subject  in  Tonic 

(unaltered).  96-115 

( g)  Bridge-p  assage      or 

Transition.  116-131 

Second    Subject    in 

Tonic.  132-1601 

[First  §   132-145  orl 
1461. 

[Second  §  146 - 1601.  J I 
'h)  Coda.                                  1602-171 
(j)    Double  bar  and  repeat.) 


Bars. 


FIRST   MOVEMENT. 

(a)  The  first  subject  is  a  sentence    of    twelve    bars    prolonged    by 
cadential  extensions  to  bar  16.     The  overlapping  of  the  transition  in  the 
last  bar  gives  rise  to  one  of  those  cases  of  apparent  "elision"  of  the 
cadence  explained  in  (b),  paragraph  ii,  first  movement,  Sonata  VII. 

It  will  be  noticed  in  bar  8  that  the  presence  of  the  auxiliary  note  on 
the  accent,  and  the  consequent  shifting  of  the  third  of  the  tonic  chord 
from  that  position,  removes  the  effect  of  finality  from  the  perfect 
cadence.  And  not  only  this,  but  it  actually  leaves  the  mind  in  a  certain 
state  of  suspense,  a  suspense  which  necessitates  the  sentence  being  con- 
tinued in  order  to  complete  the  musical  idea. 

(b)  The  transition  is  only  three  bars  long;  it  ends  on  a  half-cadence 
in  C  major.     Opinion  seems  to  be  about  equally  divided  as  to  whether 
these  three  bars  are  to  be  considered  as  forming  a  separate  passage  of 
transition,  or  are  merely  the  last  bars  of  the  first  subject  (see  Sonata  I, 
first  movement,  b,  page  2). 

(c)  The  second  subject  is  divided  into  three  sections  followed  by  a 
codetta.     The  character  of  the  various  sections  is  well  described  by  the 
suggestive    expressions,    Schlusz    I    (=     the    second    section),    Schlusz 
II  (=  the  third  section),  and  Anhang  (=  the  Codetta).     See  Cotta  edi- 
tion, Sonata  III. 

(d)  The  three-bar  phrase,  bars  29-31,  gives  variety  to  the  hitherto 
unbroken  two-bar  rhythm  in  this  section. 

(e)  This  passage  contains  two  four-bar  phrases.     The  first  ends  on 
a  half -cadence;  the  second,  a  varied  repetition  of  the  first,  ends  with  a 
full  cadence,  bar  42*. 


SONATA  NO.   X.  65 

(f)  This  section  consists  of  a  6-bar  sentence  which  is  repeated  with 
some  slightly  florid  variation. 

(g)  The  Codetta  is  formed  of  simple  cadence  extensions. 

(h)  The  second  part  of  this  movement  consists  of  fresh  passages 
which,  however,  include  some  references  to  the  first  subject,  though  they 
contain  no  real  working  of  previous  material.  Compare  (i)  bars  65-661 
with  7-8,  and  (ii)  bars  81-82  with  bar  13,  the  latter  passage  being  the  only 
place  in  which  there  is  any  approach  to  thematic  treatment.  Compare 
also  the  bass  figures,  bars  59-63,  with  those  at  the  commencement  of  the 
first  subject.  The  music  touches  transiently  the  keys  of  C  major  (59-60), 
and  A  minor  (60-61).  In  bars  69,  there  is  a  decided  modulation  to  A 
minor  thence— after  incidentally  touching  the  keys  of  F  major  (72-73)  and 
D  minor  (73-74) — to  C  minor  and  C  major  (the  Tonic).  This  part  closes 
with  a  passage  on  the  dominant,  which  starts  in  C  minor  and  ends  in 
C  major.  A  short  link  leads  into  the  recapitulation  of  the  first  subject. 
Note  the  chord  of  the  inverted  dominant  9th  in  G  major,  in  both  the 
diatonic  and  the  chromatic  forms,  bars  61-63. 

(j)  An  unusual  feature  in  the  form  of  this  movement  is  to  be  met 
with  in  the  recapitulation  of  the  second  subject.  Instead  of  re-appearing, 
according  to  the  usual  custom,  in  the  key  of  the  tonic  (here,  C  major), 
the  second  subject  starts  irregularly  in  the  key  of  the  dominant,  G  major, 
returning  only  to  the  tonic,  in  bar  109,  at  the  end  of  the  first  phrase. 
After  this,  however,  the  remainder  of  the  subject  reappears  in  the  latter 
key  with  but  slight  modifications. 

(k)  The  real  Coda  commences  in  bar  145,  for  up  to  this  point  the 
recapitulation  has  only  repeated  in  the  key  of  the  tonic  what  has  already 
occurred  in  the  corresponding  -portion  of  the  exposition  in  the  key  of  the 
dominant.  The  passage,  which  is  founded  on  the  opening  bars  of  the 
free  fantasia,  is  written  over  a  tonic  pedal  with  suggestions  of  the  plagal 
cadence. 

Strictly  speaking,  the  Coda  commences  at  the  point  at  which  the  recapitulation 
of  the  exposition  ceases.  We  often  find,  however,  the  Coda  marked  as  commencing 
with  the  repetition  of  the  original  Codetta,  where  the  few  added  bars  of  the  Coda 
are  immediately  preceded  by  such  repetition  of  the  Codetta,  and  where,  as  in  this 
instance,  these  added  bars  are  of  simple  cadential  character;  or,  as  in  other  instances, 
merely  carry  on,  with  more  or  less  elaboration,  the  figures  of  the  foregoing  Codetta 
(e.g.,cf.  the  Finale  of  this  Sonata  and  compare  the  Codetta  and  Coda  in  the  first 
movement  of  Beethoven's  Sonata,  Op.  49,  No.  1). 

In  accordance,  therefore,  with  what  appears  to  be  a  generally  accepted  view,  the 
Coda  in  this  movement  is  marked  on  the  accompanying  Thematic  Scheme  as  com- 
mencing in  bar  141. 

(1)  See  Sonata  II,  first  movement  (1),  page  9. 


66 


MOZART'S  PIANOFORTE  SONATAS. 


SECOND   MOVEMENT. 


(a)  Various  terms  are  used  to  describe  the  form  of  this  movement, 
some  writers  styling  it  three-part,  ternary  or  three-part  song-form,  others 
calling  it  episodical   (i.e.,   a   movement  with   one   episode).      The  terms 
Song  form  with  Trio,  and  Minuet  and  Trio  form  are  also  frequently  met 
with.*     The  last  named  term  is  very  appropriate  as  it  so  exactly  describes 
the  construction  of  the  movement.     Part  I  is  equivalent  to  the  Minuet, 
whilst  the  episode  takes  the  place  of  the  Trio,  each  ending  with  a  perfect 
cadence  in  its  own  key.    In  this  instance  both  Part  I  and  the  episode  are 
in  binary  form,  with  their  respective  first  and  second  parts  followed  by 
double  bars  and  repeat  marks.    Part  III  is  equivalent  to  the  repetition  of 
the  Minuet,  being  an  exact  reproduction  of  Part  I,  written  out  in  full  (of 
course  without  repeats),  and  with  the  addition  of  a  short  coda. 

(b)  Frequent  use  is  made  of  the  opening  figure  (four  repeated  C's). 
it  being  imitated  and  repeated  several  times  both  in  Part  I  and  in  the 
episode. 

(c)  The  resemblance  between  the  terminations  of  the  first  and  second 
parts  of  Part  I,  bars  7-8  and   19-20,  should  be  noted.     Such  similarity 
between  the  terminations  of  the  twro  parts  is  a  very  frequent,  though  not 
invariable,  feature  in  binary  form.f     Note  also  the  modulation  to  B  fiat 
major  (bars  14-16),  and  the  earlier  modulation  to  G  minor  (bars  Q-io), 
modulation  towards  the  subdominant  side  of  a  key  being  another  feature 
often  to  be  met  with  in  this  form,  near  the  commencement  of  Part  II,  and 
during  its  course. 

(d)  More  unusual  than  the  similarity  of  the  terminations  spoken  of 
in  the  previous  paragraph — and  therefore  to  be  specially  noted — is  the 
resemblance  between  them  and  the  final  cadence  in  this  passage,  bars 
27-28. 

(e)  Though  called  by  some  writers  "codetta"  and  others  "coda,"  as 

*  The  varied  names  do  not,  in  this  instance,  imply  a  difference  of  opinion  as 
to  the  form  of  this  little  movement,  they  are  merely  various  characteristic  terms 
used  to  describe  the  same  form.  Both  Stewart  Macpherson  and  Percy  Goetschius, 
however,  differentiate  between  the  use  of  certain  of  these  terms,  viz.,  Ternary,  Minuet 
and  Trio,  and  Episodical  Form  (the  latter  author  using  slightly  different  termin- 
ology) '•>  in  other  Avords,  both  of  them  advocate  that  some  limitation  be  set  upon  the 
meaning  of  each  term.  Fundamentally,  all  the  terms  mentioned  in  (a)  above  sig- 
nify music  whose  structure  divides  naturally  (sometimes  more,  and  sometimes  less, 
markedly)  into  three  parts.  The  advantage  gained,  however,  by  the  use  of  such 
differentiation  is  that  each  term  in  itself  then  conveys  a  much  clearer  conception  of 
the  scope  of  any  particular  movement  than  when  some  of  these  terms  are  considered, 
and  employed,  as  being  practically  interchangeable  with  each  other. 

f  See  also  Sonata  VIII,  third  movement,  footnote  ||  to  (h),  page  53. 


SONATA  NO.   X.  67 

a  matter  of  fact  neither  term  is  quite  appropriate  to  this  passage. 
Banister,  though  afterwards  referring  to  it  as  a  codetta,  speaks  of  it  as 
"  serving  as  intermezzo ,  i.e.,  put  in  between— not,  however,  leading  back  to 
the  first  subject,  but  closing  again,  like  a  codetta  in  F  minor/'* 

Another  authority  says  "  not  the  nature  of  the  coda,  more  accurately, 
a  repetition  of  first  phrase  of  the  episode  with  cadence  inF  minor." 

(f)  The  Coda  to  the  entire  movement,  like  the  passage  referred  to 
above  (e),  is  founded  on  the  first  phrase  of  the  episode.  In  this  case, 
however,  it  occurs,  of  course,  in  the  major  instead  of  in  the  minor  mode, 
as  in  the  episode. 

THIRD   MOVEMENT. 

(a)  The  first  subject  consists  of  a  sentence  of  sixteen  bars  with  a  full 
close  in  sixteen,  afterwards  extended  to  bar  20  by  cadential  repetitions. 
Bars  9-16  are  a  varied  repetition  of  i-S,  the  full  close  in  15-16  replacing 
the  half  close  in  7-8. 

(b)  The  first  portion  of  the  transition  is  of  a  very  melodious  charac- 
ter.    Starting   at   one   degree  higher  than  the   first   phrase,   the   second 
phrase  (bars  25-28)  commences  with  an  imitation  of  the  opening  figure  of 
the  first.     The  passage  modulates,  in  bar  31,  to  G  major,  in  which  key  it 
closes  on  a,  half -cadence  in  the  following  bar. 

(c)  The  first  section  of  the  second  subject  is  of  unusual  construction. 
Its  first  phrase  is  two  and  a  half  bars  in  length,  the  bass  however  carry- 
ing on  its  own  figures  for  the  full  four  measures;  bars  37-39*  repeat  the 
phrase  of  two  and  a  half  bars,  after  which  the  responsive  four-bar  phrase 
(392-431)  enters  immediately  without  any  repetition  of  the  foregoing  unac- 
companied bass  figures.  In  the  repetition  of  the  latter  phrase  the  expected 
full    cadence    is    abruptly  interrupted,  the   finality  of    its    effect    being 
suddenly  arrested  by  the  sounding  of  the  fifth  alone — instead  of  the 
whole — of  the  tonic  chord  on  the  strong  accent  in  bar  47. 

Had  the  cadence  between  bars  46-47  been  more  clearly  defined 
Ridley  Prentice  would  have  called  the  succeeding  passage  (bars  47-61*) 
a  "  tributary  "t  of  the  second  subject — in  more  usual  nomenclature — a 
second  section.  As  it  is,  he  discriminates  and  calls  it  a  "continuation" 
of  the  second  subject— this,  in  accordance  with  the  view  held  by  many 
authorities,  that  each  section  of  the  second  subject  must  end  with  a 
perfect  cadence. 

Such  a  distinction,  at  any  rate  in  this  instance,  seems  a  little  unneces- 

*  "Lectures  on  Musical  Analysis,"  H.  C.  Banister. 
f  "The  Musician,"  Ridlev  Prentice. 


68  MOZART'S  PIANOFORTE  SONATAS. 

sary.  Rather  would  it  appear  to  the  present  writer  that  in  this  passage 
Mozart  is  feeling  his  way  towards  the  newer  methods,  although,  in  his 
day,  the  time  was  not  ripe  for  such  a  radical  change.* 

The  point  as  to  the  exact  number  of  sections  into  which  any  given 
second  subject  may  be  divided  is  one  on  which  there  is  very  often  a 
variety  of  opinion;  the  factor  of  paramount  importance  in  coming  to  a 
decision  in  such  cases  being  that,  before  any  passage  can  be  considered  to 
form  a  separate  section,  there  must  be  clear  evidence  that  it  contains  a 
new  musical  idea.  And  on  this  point,  in  the  passage  in  question,  there  is 
no  doubt  whatever.! 

For,  in  bar  46,  we  feel  that  the  first  theme  is  nearing  its  close;  in 
fact,  we  actually  hear  the  first  chord  of  the  final  cadence,  followed,  in 
47,  by  a  form  ~bf  the  tonic  chord.  And,  however  inconclusive  this  may 
sound  as  regards  its  cadential  effect,  no  doubt  whatever  is  created  in 
the  mind  as  to  its  being  the  point  at  which  another,  and  an  entirely  new, 
musical  theme  commences. 

(d)  The  second  section  is  built  mainly  on  broken  chord  figures  in 
striking  contrast  to  the  "stepwise"  figures  in  the  first  section.     It  com- 
mences with  a  two-bar  phrase,  which  is  repeated,  the  responsive  phrase 
(commencing  on  the  second  semiquaver  in  bar  51)  continuing  to  bar  55 
where,  after  transient  modulation  to  C  major  in   52-53,  it  ends  with  a 
perfect  cadence  in  G  major.     This  phrase  is  also  repeated,  its  repetition 
being  lengthened  to  six  bars. 

Note  the  chromatic  chord,  G  major  f  iv°{,7  (Ilfob)  bars  54  and  58. 

(e)  With  the  exception  of  the  break  at  the  final  cadence,  the  codetta 
is  written  on  a  tonic  pedal. 

*  When  discussing  the  question  of  how  to  recognise  the  point  at  which  the  First 
Subject  ends  and  the  Transition  commences,  Stewart  Macpherson  remarks  that 
11  frequently  in  modern  compositions,  there  is  a  total  absence  of  any  strong  cadence 
in  the  Tonic  key  in  the  course  of  the  First  Subject,  the  music  modulating  freely  and 
leading  imperceptibly  into  the  Second  Subject."  .  .  .  .  it  "  is  the  outcome  of  that 
desire  for  greater  continuity  which  has  characterised  the  writings  of  the  more  modern 
masters,  from  the  time  of  Beethoven  onwards.  This  desire  is  further  manifested  in 
the  tendency  of  later  writers  to  insist  less  strongly  upon  the  definite  demarcation  of 
other  important  divisions  of  their  movements  by  well-marked  cadences  and  points  of 
repose,  and  to  allow  these  divisions  to  merge  one  into  the  other  far  more  than  was 
the  case  with  the  older  masters.  All  this  is  now  possible,  owing  partly  to  the  fact) 
that  audiences  have,  in  the  course  of  time,  grown  more  accustomed  to  the  shape  of 
the  works  to  which  they  are  called  upon  to  listen ;  and,  as  a  consequence,  there  is* 
the  less  need  for  the  formal  cadence-points  and  emphatic  terminations  which  served 
an  undoubtedly  necessarv  and  important  purpose  in  the  earlier  writings."  See 
"  Form  in  Music." 

t  A  view  with  which,  as  is  evident  from  the  wording  of  his  remark,  Ridley 
Prentice  agrees. 


SONATA  NO.   X.  69 

(f)  This   portion   of  the  movement   consists   of   an  episode  which, 
beyond  one  slight  exception,*  bears  no  reference  whatever  to  Part  I,  the 
slight  thematic  "working"  it  contains  being  founded  on  its  own  figures.! 
Bars  79-84   form  a  short  ascending  sequence  accompanied  throughout, 
hcwever,  by  the  recurrent  G.     Note  the  slight  working  of  figures  in  the 
passage  on  G,  which  follows.     Compare  also  the  figures  in  bar  75  with 
those  in  71.     Beyond  a  momentary  suggestion  of  the  key  of  A  minor, 
modulation  in  this  episode  is  confined  to  the  return  from  the  key  of  the 
dominant  to  that  of  the  tonic — the  latter  occurring,  first  in  the  major, 
and  afterwards  in  the  minor,  mode.     Note  (i)  the  second  chord  in  bar  74, 
G  major,  jf  iv°   (II7b)  and  (ii)  the  chord  of  the  Italian  sixth  in  C  minor, 
bar  9i2. 

(g)  The   transition   reappears    slightly    lengthened    and    modified. 
Bars  124-129,  which  modulate  through  F  major  and  D  major  to  C  major, 
form,  in  the  treble,  a  descending  sequence. 

(h)  The  coda  is  a  slightly  extended  repetition  of  the  original 
codetta.*  It  is  of  interest  to  note  that,  in  bars  i642-i681,  the  descending 
figures  are  immediately  followed  by  responsive  ascending  figures. 

(j)  See  Sonata  II,  first  movement  (1),  page  9. 


*  In  bar  85,  which  compare  with  bar  1. 

t  On  account  of  this  unusual  feature  Hadow  remarks  :  "  This  is  clearly  an  experi- 
ment in  form  and  may  stand  as  an  isolated  exception  to  the  rule." 

1  Cf.  supra,  first  movement  (k). 


SONATA  No.  XI,  IN  A  MAJOR  ;K.  331),  (1/79*)- 
THEMATIC  SCHEME. 


A  ndante  grazioso 


P5 


i    -V 


is  ;    is  i    is  i    Si 


7/i  three  movements. 


FIRST  MOVEMEXT— fa)   f'TEMA."  IN  A  MAJOR,  WITH  SIX  VARIATIONS. 
(b)  TEMA  AND  (g)  VARIATION  IV.    !_Bars._;     VARIATIONS  (d)  I  AND  (ej_II. |     Bars- 


Double  bar  and  repeat. 


1—4 


First     sentence     in     A     major 
(Tonic). 

)  First  phrase  ending  on  a 
half-cadence 

(ii)     S  e  c  o  D  d     phrase — the 
theme  of  the  first  phrase, 
modified    to    close    with    a 
full  cadence 
Double  bar  and  repeat. 


Second  sentence  in  A  major. 

(i)   New   phrase   ending   on 

a  half-cadence       ...          ...        9-12 

(c)  J(ii)    Return    to    the    second 

phrase  of  A,  prolonged  by; 

cadential     repetitions     to| 

six  bars  ...!     13-18 


First      sentence      in      A     major 
(Tonic). 
(i)  First  phrase  ending  on  a 

half-cadence 

(ii)    Second      phrase   -  -   the 
theme  of  the  first  phrase, 
raried   as   to    the   figures, 
also  modified  to  close  with 
a  full  cadence 
Double  bar  and  repeat. 
Second  sentence  in  A  major. 

'(i)  New  phrase  ending  on  a 

half-cadence 

(ii)  Return  to  the  figures  of  \ 
the  first  phrase  in  A,\ 
which,  however,  reproduce  | 
the  theme  as  modified  in  j 
the  second  phrase  (see  \ 
Tema  A  (ii)  ^ 

N.B.  —  In  the  cadence  repeti- 
tion   the    fiyures    chanae 
and  revert  to  those  of  the 
second  pJiTQ8€  in  A 
Double  bar  and  repeat. 


1-4 


9—12 


13-10 


17-18 


*  See  Sonata  X,  footnote  *  to  Thematic    Si-home,  page  63. 

t  The  whole  of  the  first  movement  is  incorrectly  barred,  it  should  commence  with  a  half-bar. 


SONATA  NO.   XI. 


(f)  VARIATION  III. 


In  A  minor 
(the  Tonic 
minor). 


For  the  T lie- 
in  title  Scheme, 
see  Variations 
I  and  II. 


(h)  VARIATION  V. 


Adagio. 
A     First  sentence  in  A  major. 

(i)  First  phrase  ending  on  a  half-cadence. 

(ii)  Second  phrase— the  theme  of  the  first 

phrase,    varied   as    to    the    figures, 

also  modified  to  close   with  a   full 

cadence 

Double  bar  and  repeat. 

B     Second  sentence  in  A  major  (principally) 

'  (i)   New  phrase,   modulating  to  D  major 

(Subdominant),  returning  (bar  11) 

to  A  major,  in  which  key  it  ends  on 

a  half-cadence 

(ii)    Return    to   the   figures   of    the   first 
phrase  in  A,  but  for  tivo  bars  only, 
the  theme  (as  hitherto)  reproducing 
the     melody    as     modified    in     the 
second  phrase  [see  A  (ii)]  ... 
IV. 7?. — In  bars  15-16,  the  figures  change, 
and  revert  to  those  of  the  second 
phrase  in  A. 
Double   bar  and   repeat. 


Bars. 


1-4 


5-8 


9-12 


13-18 


(j)  VARIATION  VI. 


Allegro. 

For  Thematic 
Scheme,  bars  1-18, 
see  Variations  I 
and  II. 


(k)  Coda  18a-3-26. 


SECOND  MOVEMENT— (a)  MENUETTO  AND  TRIO.     MINUET  AND  TRIO  FORM. 


PART  I. 

Bars. 

PART  II. 

Bars. 

PART  III. 

MENUETTO   IN  A    MAJOR. 

(e)  TRIO  IN  D  MAJOR  (SUB- 

(b)     TERNARY  FORM. 

DOMINANT)  . 

TERNARY  FORM. 

(c)  Part  i  : 

(f)    Part  i  : 

First    Sentence    in    A 

Sentence    in    D    major 

major  (Tonic). 

1-10 

(Tonic)    and    A    major 

Second   Sentence   in  E 

(Dominant). 

1-16 

major  (Dominant). 
Double  bar  and  repeat. 

11-18 

Double  bar  and  repeat. 
Part  ii  : 

Menuetto  D.C. 

(d)  Part  ii  : 

Passage  starting  in   E 

Passage  starting  in  B 
minor,  modulating,  and 

minor,       modulating 
through  C  major,   and 

ending  on  half-cadence 

ending  on  half-cadence 

in  A  minor.  | 

19-30 

in  D  minor. 

17-36 

Part  iii  : 

Part  iii  : 

Repetition   of    Part    i, 
both    sentences   in    the 

Repetition    of    Part    i, 
modified,   and   entirely 

Tonic. 

31-48 

in  the  Tonic. 

37-52 

Double  bar  and  repeat. 

Double  bar  and  repeat. 

%  See  footnote  to   t    (d),   second  movement,   page  75. 


MOZART'S   PIANOFORTE   SONATAS. 


THIRD  MOVEMENT—"  ALLA  TURCA,"  IN  A  MINOR  AND  A  MAJOR,     (a)  RONDO. 


(b) 


(c 


PART  I  or  PRINCIPAL  SUBJECT  in  A  minor  (Ternary  Form}. 

Part  i:  Eight-bar  sentence  in  A  minor  (Tonic)  and  E  minor  (Dominant 

minor)  

Double  bar  and  repeat. 

c)  Part  ii:  Eight  bars  in  C  major  (relative  major)  and  A  minor  (Tonic) 
(d)  Part  in:  Return  to  first  phrase  of  Part  i,  in  Tonic,  followed  by  new  second 

phrase  in  Tonic       

Double  bar  and  repeat. 
PART  II  (e)  EPISODE  IN  A  MAJOR. 

Opening  Section  (or  Part  i)  

Eight-bar  sentence  in  A  major. 

Double  bar  and  repeat. 

Middle  Sections  (or  Part  ii)  in  Ternary  Form 

Part    i  =  Eight-bar  sentence    in    F   sharp    minor    and   C   sharp   minor 

322-401 
Double  bar  and  repeat. 

Part  ii= Eight-bar  sentence  in  A  major  402-48l 

Part  Hi  =  Repetition  of  Part  i,  modified  and  entirely  in  the  key  of  F 

sharp  minor        ...         482-56i 

Double  bar  and  repeat. 
Closing  Section  (or  Part  iii). 

Repetition  of  opening  section  (unaltered) 

Double  bar  and  repeat. 

PART  III  OR  PRINCIPAL  SUBJECT  (second  entry). 
Repetition  of  PART  I  in  original  key 
Part  i  (unaltered). 

Double  bar  and  repeat. 
Parts  ii  and  iii  (unaltered). 
Double  bar  and  repeat. 

(f)  Repetition  of  opening  section  of  Episode  in  A  major,  slightly  modified     ... 

J)ouble  bar  and  repeat. 

(g)  CODA        r      

/New  theme 962-1091  \ 

I  Repetition  of  the  same  theme,  slightly  varied  and  extended     1092-127  J 


Bars. 


To  81 

82-161 

162-241 

242-321 
322-561 


562-641 
642-881 

882-961 
962-127 


FIRST   MOVEMENT. 

(a)  The  construction  of  this  sonata  is  unusual  (i)  because  it  contains 
no  movement  whatever  in  sonata  form,  and  (ii)  because  of  the  form  in 
which   the   opening    movement    is    written,*   viz.,    that    of    an    air    with 
variations. 

(b)  It  is  of  interest  to  give  some  attention  to  the  form  of  this  little 


*  Mozart  is  credited  with  having  introduced  this  innovation,  of  which  this 
sonata  is  probably  the  first  example.  (See  Sonata  IV,  first  movement,  a).  It  is 
interesting  to  note  that  Beethoven,  in  his  pianoforte  Sonata  in  A  flat,  Op.  26,  also  has 
an  air  with  variations  for  the  first  movement. 


SONATA  NO.   XI.  73 

Tema  and  its  succeeding  variations;  for  in  them  one  discovers  another 
example  of  a  "hybrid  form,"  somewhat  similar  to  that  in  which  the 
"  Tema "  in  the  finale  of  Sonata  VI  is  written :  similar,  yet  differing 
from  it  in  one  important  detail.  In  the  finale  to  Sonata  VI  it  is  pointed 
out  that  its  Tema  "is  written  in  a  form  which  is  neither  wholly  binary 
nor  wholly  ternary  in  design,  but  which  partakes  of  the  character  of 
both,  the  shape  approximating  to  binary,  whilst  the  inherent  idea  con- 
tained in  it  is  emphatically  ternary." 

In  this  instance  the  shape  approximates  to  the  binary,  if  anything 
still  more  closely  than  in  the  foregoing  example;  but  whereas  in  that 
instance,  as  above  stated,  the  musical  idea  is  emphatically  ternary,  here 
it  is  the  musical  idea  which  in  itself  is  hybrid,  combining,  as  it  does, 
features  which  individually  are  characteristic,  one  of  the  binary,  and 
the  other  of  the  ternary,  design. 

In  order  to  gain  a  clear  comprehension  of  this,  it  is  only  necessary 
to  compare  carefully  the  contents  of  the  different  variations  with  those 
-of  the  Tema.  For,  in  five  out  of  the  six  variations,  the  two  phrases  of 
Part  I  are  characterised  by  different  figures,  and  in  these  variations  it 
will  be  found,  that  whilst  the  return  in  Part  II  is  to  the  first  phrase 
.figures  (characteristic  of  ternary  design),  these  figures  reproduce  the 
iheme  as  modified  in  the  second  phrase*  (characteristic  of  binary). 

(c)  The  double  upward  suspension  over  the  tonic  bass,  in  bar    16, 
should  be  noted,  t     Compare  with  it  also  the  various  modifications  of  the 
passage  to  be  found  in  the  different  variations.     The  penultimate  chord 
in  the  final  cadence    is    the  chord    of    the    dominant    thirteenth.     The 
C  #  would,  however,  be  looked  upon  by  some  theorists  merely  as  an  ac- 
cented auxiliary  note. 

(d)  The  first  variation  is  characterised  by  semiquaver  figures,  princi- 
pally in  the  treble  part,  in  which  the  second  of  every  two  semiquavers  is 
usually  the  melody  note. 

(e)  The  feature  of  the  second  variation  is  the  continuous  movement 
of  semiquavers  in  triplets. 


*  That  it  is  this  melody  which  is  reproduced  and  not  that  of  the  first  phrase  is 
probably  due  to  the  twofold  fact  (i)  that  the  two  phrases  in  Part  I  commence  alike, 
and  (ii)  that  there  is  the  necessity  of  bringing  this  the  final  phrase  of  the  variation, 
in  similar  manner  to  the  second  phrase — to  a  conclusion  with  a,  perfect,  instead  or 
with  a  half,  cadence.  For  even  in  the  Tema  itself  (as  also  in  Variation  IV)  where  the 
return  is  to  an  exact  repetition  of  the  second  phrase  in  Part  I,  the  impression  given 
by  the  music  is  still  one  rather  of  a  ternary  design  (statement,  digression  and  re- 
statement), than  of  the  binary  (statement  and  response). 

f  Or  "retardation"  as  some  theorists  term  it. 


74  MOZART'S   PIANOFORTE   SONATAS. 

(f)  In  the  third  variation  (in  the  key  of  the  tonic  minor)  the  semi- 
quaver figures  are  sustained  simultaneously  in  both  treble  and  bass.     In 
bar  8  (repeated  in  bars  16  and  18)  we  find  the  melodic  form  of  the  minor 
scale  employed. 

(g)  The  fourth   variation  is  rendered  very  distinctive  by  the  con- 
tinual crossing  of  the  left  hand  over  the  right  hand. 

(h)  Variation  V,  Adagio.*  Characterised  by  demisemiquaver 
figures.  In  this  variation  the  melody  notes  are  again  frequently  dis- 
placed by  accented  auxiliary  notes.  In  bars  9-10,  there  is  a  modulation 
to  the  key  of  D  major.  This  is  the  only  variation  in  which  this  modula- 
tion occurs. 

(j)  Variation  VI,  Allegro.  The  combined  change  of  time  signature 
and  tempo  entirely  alters  the  character  of  the  melody  in  this  variation 
the  harmony,  however,  remains  practically  unchanged.  See  also  the  last 
variation  in  the  Finale  of  Sonata  VI. 

(k)  It  should  be  noted  that  the  apparently  exceptional  use  of  the 
cadential  |,  in  bar  23,  is  caused  by  the  wrong  barring  of  the  movement. 
Were  the  movement  correctly  barred,  the  position  of  this  chord  would  be 
perfectly  regular. 

SECOND    MOVEMENT. 

(a)  This  is  the  second  of  Mozart's  pianoforte  sonatas  which  contains 
a  Minuet  and  Trio,  the  only  other  one  being  Sonata  IV   in  E|7.     See 
second  movement  (a)  in  that  sonata,  page  23,  and  Sonata  XX,  third  move- 
ment (a),  page  164. 

(b)  The  remarks  in  Sonata  IV,  second  movement  (c),  should  be  care- 
fully read  here. 

(c)  The  form  in  which  this  Minuet  is  written  is  instructive.     Com- 
bining, as  it  does,  in  miniature  the  essential  features  of  the  larger  and 
more  important  sonata-form,  it  is  an  especially  clear  and  comprehensive 
example  of  the  manner  in  which  the  latter  was  gradually  evolved  from 
the  older  and  smaller  forms. t    And,  on  this  account,  some  writers  desig- 
nate the  form  "  miniature  sonata  "  : 

*  See  Sonata  VI,  third  movement,  footnote  to  (m),  page  38. 
f  See  also  Sonata  TV,  second  movement  (g),  page  25. 


SONATA   NO.   XL  7> 

Comparative  Scheme. 
Part  /,  or  Exposition.        Part  II,  or  Free  Fantasia.  \  Part  111,  or  Recapitulation. 


First  Sentence  in  Tonic  =  j  Twelve  bars  modulating.* 
First  Subject. 

Second  Sentence,  con- 
trasted melody  in  Domin- 
ant —  Second  Subject. 


First  Sentence  in  Tonic  = 

First  Subject. 
Second  Sentence   in   Tonic 

=  Second  Subject. 


(d)  Note  (i)  that  bars  23-26  are  sequential  to  19-22;!  (11)  that  bar  29 
contains  the  chord  of  the  German  sixth,  the  previous  bar  containing  a 
chord  of  the  augmented  sixth  "  in  outline";  (lii)  that  the  sentences  over- 
lap in  bar  41  ;  and  (iv)  that  in  the  final  cadence  in  Part  I  (repeated  in 
Part  III)  the  penultimate  chord  starts  as  the  dominant  thirteenth.} 

(e)  The  special  point  to  notice  in  the  Trio  is  the  happy  combination 
of  "  unity  with  variety "   in  the  musical  theme.     In  distinct  contrast  to 
the  Minuet,  the  Trio,  except  for  the  short  digression  in  Part  II,  contains 
but  one  theme,  yet  is  this  interwoven  with  such  variety  that,  in  Part  III, 
actual  repetition  of  the  contents  of  Part  I  is  restricted  to  the  opening 
motive  of  that  part. 

(f)  Part  I  is  an  interesting  example  of  a  sentence  which  is  prolonged 
by  each  successive  section  (with  the  exception  of  the  first)  being  repeated, 
before  the  following  section  is  given  out. 

THIRD    MOVEMENT. 

(a)  The  form  of  this  movement  is  somewhat  unusual.  Very  often 
called  the  "  Rondo  alia  Turca,"  its  design  does  not  follow  on  the  lines 
generally  understood  by  the  term  "  rondo-form." 

The  movement  consists  of  several  small  and  separate  sections — i.e., 
the  sections  are  all  divided  from  each  other  by  double  bars — and  they 


*  Not  only  does  this  passage  modulate,  but  it  contains  some  slight  working 
of  a  figure.  For  a  later,  and  very  interesting  example  of  such  a  development  sec- 
tion "  in  miniature,"  see  the  Scherzo  of  Beethoven's  pianoforte  Sonata,  Op.  2,  No.  3. 

f  Franklin  Taylor  points  out  that,  owing  to  a  want  of  clearness  in  the  original 
edition,  in -which  the  major  and  minor  modes  are  curiously  mixed,  two  versions  of 
ihe  passage,  bars  24-26,  are  given.  A  few  editions  render  the  passage  in  the  major 
mode,  the  other,  and  the  more  generally  recognised  version,  is  written  in  the  minor. 

|  In  a  few  editions  the  dominant  thirteenth  is  here  written  as  an  appoggiatura, 
in  most,  however,  it  appears  as  an  acciaccatura.  In  Augener's  edition,  edited  by 
Frainklin  Taylor,  the  former  method  is  adopted  in  the  body  of  the  work,  a  footnote 
to  the  movement,  however,  showing  the  alternative  acciaccatura,  with  the  remark 
that  the  earliest  edition  suggests  this  latter  form. 


;6  MOZART'S  PIANOFORTE  SONATAS. 

are  so  arranged  and  repeated  as  to  form  a  movement  which  may  be  briefly 
tabulated  as  follows*  : 

(i)  Part  I,  or  principal  subject — in  regular  ternary  form — contains  two  sections. 

(ii)  Part  II,  or  episode  (for  details  see  Thematic  Scheme,  and  (e)  ),  contains  joiir 

sections. 

(iii)  Part  III — an  exact  repetition  of  Part  I — contains  two  sections, 
(iv)  Repetition  of  first  eight  bars  of  the  episode  (slightly  modified),  one  section. 

(v)  Coda  contains  one  section. 

This  may  be  described  as  episodical  form,t  and  it  is  in  the  construc- 
tion of  the  episode  itself  that  we  find  one  very  unusual  feature  of  the 
movement.  The  episode,  as  above  shown,  is  divided  by  double  bars  into 
four  separate  sections,  the  second  and  third  of  which  constitute  in  them- 
selves a  complete  example  of  regular  ternary  form  [see  Thematic  Scheme 
and  (e)].  Banister  explains  an  episode  as  being  "a  movement  within  a 
movement";  here  we  have  an  unusual  example  of  a  -portion  only  of  the 
"movement  within  a  movement"  forming  yet  another  complete  little 
movement  of  itself. 

(b)  It  should  be  roted  that  this  movement  starts  in  the  tonic  minor 
to  the  key  of  the  first  movement.     It  ends,  however,  in  the  major  mode, 
the  long  coda,  in  addition  to  the  greater  part  of  the  episode,  being  in 
the  key  of  A  major. 

(c)  The  second  phrase  in  this  passage,  in  the  key  of  A  minor,  is  a 
repetition  of  the  first  phrase  at  a  minor  third  lower,  the  whole  passage, 
therefore,  forming  a  modulating  sequence.! 

(d)  The  first  phrase  in  Part  iii  is  a  repetition  of  the  opening  phrase 
in  Part  2,  altered  in  the  last  chord  (bar  20)  to  end  on  the  chord  of  the 
German  sixth. 

(e)  The  episode  opens  and  closes  with  a  section  of  eight  bars  in  A 
major. 

*  Hadow  traces  the  origin  of  such,  sectional  movements  to  the  disposition  of  the 
melodies  in  the  eld  suites  and  partitas,  and  considers  that  "  Dvorak,  under  the  title 
of  '  Dumka,'  has  brought  the  type  to  the  highest  pitch  of  variety  it  can  well  attain." 

f  Some  writers  call  this  "  first  Hondo-form,"  i.e.,  a  movement  in  which  the 
principal  subject  occurs  only  twice  and  there  is  but  one  episode.  The  term,  Rondo, 
however,  according  to  its  usual  acceptation,  whether-  applied  to  the  older,  or  to  the 
newer — the  Rondo-Sonata — type,  signifies  a  movement  in  which  there  are,  at  least, 
three  entries  of  the  principal  subject. 

Ridley  Prentice  takes  quite  another  view  as  to  the  construction,  of  the  move- 
ment. He  considers  that  it  "may  be  best  analysed  as  in  extended  song-form,  with 
a  refrain  in  A  major  "  (the  first  entry,  bars  24-32)  "  separating  the  parts." 

|  Sequences,  in  which  the  pattern  is  a  whole  phrase  in  length,  are  of  compara- 
tively rare  occurrence  and,  as  in  this  instance,  there  is  seldom  more  than  the  one 
repetition.  See  Sonata  VIII,  first  movement,  footnote  *  to  (g),  page  49. 


SONATA  NO.   XL  77 

The  middle  portion  starts  with  a  sentence  in  F  sharp  minor, 
which  modulating,  ends  on  a  perfect  cadence  in  C  sharp  minor,  bar  4O1 
(  =  Part  i).  Its  Part  ii  is  an  eight-bar  sentence  in  A  major,  after  which 
Part  i  is  repeated,  modified  so  as  to  end  in  the  key  of  F  sharp 
minor  (561). 

(f)  The  first  section  of  the  episode,  in  slightly  modified   form,  is 
here  interpolated  between  the  close  of  Part  III  and  the  commencement 
of  the  coda. 

(g)  The  theme  of  the  coda  is  new,  and  the  hitherto  unbroken  four- 
bar  phrases  here  give  place  to   less  regularly   grouped   rhythms.     The 
figures,  however,  both  in  the  treble  and  bass  parts,  connect  the  Coda 
intimately  with  the  earlier  portions  of  the  movement. 


SONATA  No.  XII,  IN  F  MAJOR  (K.  332),  (1779*). 
THEMATIC  SCHEME. 


Allegro 


In  three  movements. 


FIRST  MOVEMENT- -"  ALLEGRO,"  IN  F  MAJOR.     SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE   FANTASIA. 

RECAPITULATION.                Bars. 

(a)f  First  Subject  in  Tonic. 

(  b)  Bridge-p  a  s  s  a  g  e      or 
Transition. 
(c)   Second     Subject    in     C 
major  (Dominant), 
(d)   j  First  §|  41-561.     \ 
(e)    |  Second   §   562-  g(jl.  J 
(f)    Codetta. 
Double  bar  and  repeat. 

1-221 

223-40 
41-861 

863-93 

(g)  Bars  94-132. 

First  Subject  in  Tonic 
(unaltered), 
(h)  Bridge-p  a  s  s  a  ge       or 
Transition,  lengthened. 
Second     Subject    in 
Tonic. 
(First  §  177-1921.     \ 
\Second  §1922-2221.} 
(j)    Codetta, 
(k)  Double  bar  and  repeat. 

133-1541 
1543-176 
177-2221 

2223-229 

SECOND  MOVEMENT-"  ADAGIO,"  IN  B  FLAT  MAJOR  (!VEY  OF  THE  SUBDOMINANT). 
(a)  MODIFIED  SONATA  FORM. 


EXPOSITION. 


Bars. 


B      flat ) 


(b)  First  Subject 

( First      phrase      in 
I      major  (Tonic). 
{  Second  phrase  in  B  flat  minor 
(Tonic  minor)  and  F  minor 
\     (Dominant  minor). 
No   Transition. 

(c)  (Alternative  Analysis. 

•j  First  Subject  in  Tonic    1-4  \ 
{  Transition         5-8) 

(d)  Second     Subject     in     F     major 
(Dominant) 

(e)  Codetta        

(f)  Link  


9-191 
19-201 
20 


R  ECAPIT  ULATI ON . 


Bars. 


(g)  First  Subject  in  Tonic,  slightly 
elaborated 


No   Transition. 


Second   Subject  in  Tonic,  elab- 
orated 
Codetta       


21-28 


29-391 
39-40 


text. 


See  Sonata  X,  footnote  *  to  Thematic   Scheme,  page  63. 
t  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subseque, 

The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject. 


SONATA  NO.   XII.  79 

THIRD  MOVEMENT—"  ALLEGRO  ASSAI,"  IN  F  MAJOR.     SONATA  FORM. 


EXPOSITION. 


(a)  First  Subject  in  Tonic. 

(b)  [First  §    1-14.        } 

(c)  {Second  §  15-221.  \ 

(d)  (Third  §  22-35.     j 

(e)  Bridge-p  a  s  s  a  g  e      or 

Transition. 

Second  Subject  in  C 
minor  and  major  (Dom- 
inant minor  and 
major). 

(f)  (First  §  in  C  minor 
J      50-651. 

(g)  )  Second    $    in  C  ma-  f 
(     jor,   65-1-90.  J 
Double  bar  and  repeat. 


Bars,    i    F«EK   FANTASIA. 


1-35 


36-19    i 


50-90    i 


(h)  Bars  91-147. 


RECAPITULATION. 


(j)    First  Subject  in  Tonic. 

(First    §    unaltered/ 

j      148-161. 

}  Second  §  unaltered, 

(      162-1691. 

Third  §  omitted. 
(k)  Bridge-p  assage      or 

Transition. 
(1)     Second     Subject    in 

Tonic  minor  and  major. 

( First     §     in     Tonic  ] 

I      minor,  185-2001,    I 

}  Second    §    in   Tonic  ( 

I      major,  200-1-2321.  j 
(in)  Coda. 


Bars. 


148-1691 


1692-184 
185-2321 


232-245 


FIRST   MOVEMENT. 

(a)  The  first  subject  consists  of  two  complete  sentences  in  the  tonic 
key.     The  first  sentence,  containing  three  four-bar  phrases,  is  melodic  in 
character;  the  second,  more  characteristically  rhythmic,  is  an  eight-bar 
sentence,  prolonged  to  ten  bars   by   cadential    repetitions.     In   /-Q1,   the 
melody  overlapping,  is  repeated  in  the  bass. 

(b)  This  passage  is  more  interesting  than  many  of  Mozart's  transi- 
tions.    It  starts  with  a  phrase  in  D  minor  (the  relative),  which  is  repeated 
modulating,  in  bar  29,  to  C  minor.     Broken  chord  figures — a  variation 
of  those  already  heard  in  bars  23-24 — follow,  taken  (i)  in  bars  31-32,  on 
the  first  inversion  of  the  chord  of  C  minor;  (ii)  in  33-34,  on  the  first  in- 
version of  the  chord  of  A  flat;  and,  lastly,  in  35-36,  on  the  chord  of  the 
German    sixth   in   C    minor,  in   which    key  the  passage  ends  on  a  half- 
cadence  four  bars  later. 

This  is  another  instance  in  these  sonatas  in  which  the  key  of  the 
second  subject  is  thus  approached  through  that  of  its  tonic  minor.  (See 
first  movement  of  Sonata  VIII,  in  A  minor,  and  also  that  of  Sonata  XV, 
in  F  major.) 

(c)  The  second  subject  divides  into  two  sections,  of  which  the  first 
is  entirely  in  the  key  of  the  dominant  major,  the  second   alternating 
between  the  two  modes  of  the  same  key. 

(d)  The  first  section  is  a  sixteen-bar  sentence  in  four-bar  rhythm, 
the  second  half  of  the  sentence  being  a  varied  repetition  of  the  first, 


8o  MOZART'S  PIANOFORTE  SONATAS. 

modified  so  as  to  end  with  a  full,  instead  of  with  a  half,  cadence.  Note 
the  double  upward  suspension  J  g  in  bars  44  and  52.* 

(e  and  f)  The  second  section  commences  in  C  major,  with  the  melody 
in  the  bass.  Bars  582-6o1  repeat  the  opening  two-bar  phrase  an  octave 
lower  in  C  minor,  and  they  are  followed  by  four  bars  which,  moving 
sequentially,  modulate  transiently  into  E  flat  major.  In  65,  the  music 
returns  to  C  minor,  in  which  key  there  ensues  a  halt-cadence,  several  times 
reiterated.  The  mode  changes  back  finally  to  the  major  in  bar  71  with 
the  entrance  of  the  concluding  portion  of  the  section,  which  is  also  in 
two-bar  rhythm.  Bars  77-86*  repeat  bars  71-76  an  octave  higher,  and 
with  cadential  extensions.  A  short  and  effective  codetta  (863-Q3)  brings 
the  exposition  to  a  close. 

(g)  The  free  fantasia  commences  with  an  episode  in  C  major,t 
which  lasts  for  sixteen  bars;  after  which  the  real  development  section 
commences.  This  is  worked  entirely  on  the  second  section  of  the  second 
subject,  with  whose  first  four  bars  it  opens.  It  passes  through  the  keys 
of  C  major  (109-110),  C  minor  (111-113),  G  minor  (114-117),  D  minor 
(118-126),  A  minor  (127-128),  to  F  major  (129),  on  the  dominant  seventh, 
in  which  key  it  closes  (132).  Note  (i)  the  real  sequence  between  bars 
114-117  and  1 1 8- 1 2 1, i  and  (ii)  the  chord  of  the  Italian  sixth  in  D  minor, 
bar  122. 

(h)  The  transition  reappears  lengthened  by  the  interpolation  of  four 
bars  in  the  keys  of  C  minor  and  B  flat  minor  (163-166),  which  form  a 
sequential  repetition  of  the  preceding  four  bars.  The  passage  is  modi- 
fied so  as  to  lead  into  the  second  subject  in  the  key  of  the  tonic. 

(j)  There  is  no  coda;  the  movement  ends  with  a  repetition  of  the 
original  codetta,  transposed  into  the  key  of  the  tonic. 

(k)  See  Sonata  II,  first  movement  (1),  page  9. 

SECOND   MOVEMENT. 

(a)  The  terms  u  modified  sonata,"  "  abridged  sonata,"  and  "  sona- 
tine"  are  variously  employed  by  different  writers  to  describe  the  form 
in  which  this  movement  is  written,  the  terms  being  used  synonymously.  § 


*  See  previous  sonata,  first  movement,  footnote  to  (c),  page  73. 

t  Compare  bars  94-95,  etc.,  with  71-72,  etc.     See  also  Sonata  V,  first  movement 
(f)  and  footnotes,  page  28. 

I  See  previous  sonata,  third  movement,  footnote  to  (c),  page  76. 

§  The  author  has  met  with  a  single  exception,  the  form  of  the  movement  in  that 
instance  being  described  as  "sonata." 


SONATA  NO.   XII.  8 1 

(b  and  c)  The  first  eight  bars  of  this  movement  can  be  analysed  in 
two  ways. 

(i)  Some  writers  consider  the  whole  passage  as  first  subject,  the 
second  portion  of  which  (bars  5-8)  starts  with  a  repetition  of  the  opening 
two-bar  phrase,  but  in  the  key  of  the  tonic  minor ;  it  modulates  then  to 
the  dominant  minor  and  ends  in  a  most  unusual  manner  on  a  full  cadence 
(with  a  Tierce  de  Picardie)  in  that  key.  This  thus  obviates  the  necessity 
for  a  specific  "passage  of  transition."* 

(ii)  Other  writers,  however,  maintain  that  Mozart  always  intended 
a  separate  and  distinct  passage  of  transition  in  his  movements  in  sonata 
form,t  and  that  therefore  the  first  subject  in  this  instance  ends  on  the 
half -cadence  in  the  tonic  (bar  4),  bars  5-8  constituting  the  specific  pas- 
sage of  transition. 

In  order  that  the  student  may  form  a,  judgment  on  the  question  at 
issue,  certain  factors  must  be  borne  in  mind,  viz. : 

(i)  That  "the  formal  function  of  a  subject  is  to  present  and  embody 
some  particular  key"  (Hadow) — with  the  first  subject  this  will  be  the 
key  of  the  tonic. 

(ii)  That  the  purpose  of  a  transition  is  to  lead  away  from  the  first 
key. 

(iii)  That  a  passage  of  transition,  though  it  may  be,  and  often  is, 
entirely  new,  on  the  other  hand,  commences  very  often  with  some  figure 
or  figures  from  the  first  subject. 

N.B. — A  fourth  factor  upon  which  many  authorities  insist,  viz.,  that 
a  first  subject  must  at  least  be  eight  bars  in  length,  does  not  help  to  a 
decision  in  this  instance;  for  the  movement,  though  written  in  J  time, 
is  virtually  in  |  time,  and  therefore  the  first  four  bars  (as  written)  are 
actually  equivalent  to  eight  bars.J 

Those  writers,  therefore,  who  take  the  second  view,  have  many  points 
to  support  their  opinion.  For  bars  1-4  form  a  perfectly  regular  first 
subject  ending  on  a  half -cadence  in  the  tonic,  and  the  complete  modula- 
tion into  the  key  of  the  dominant  minor  in  bars  5-8  (the  debatable  pas- 


*  It  is  by  no  means  infrequent,  more  especially  in  the  works  of  the  earlier  com- 
posers, for  a  first  subject  to  end  on  a  half-cadence  in  the  tonic,  i.e.,  on  dominant 
harmony;  but,  as  Prout  points  out,  "it  is  unusual,  almost  exceptional,"  for  it  to 
end,  as  in  this  instance,  in  the  key  of  the  dominant. 

f  See  Sonata  I,  first  movement  (b),  page  2. 

J  We  may  here  point  out  that,  were  the  movement  barred  in  £  instead  of  in|, 
time,  the  character  of  the  cadence  in  bar  8  would  be  altered,  the  final  chord  then 
falling  on  the  strong  accent  of  the  bar  instead  of,  as  now,  on  the  weaker  one. 

7 


82  MOZART'S  PIANOFORTE  SONATAS. 

sage),  which  is  so  unusual  when  considered  as  occurring  in  the  first  sub- 
ject, is  by  no  means  an  unusual  feature  in  a  passage  of  transition.* 

And  yet,  notwithstanding  the  above  cogent  arguments  in  favour  of 
the  analysis  given  at  (c),  the  balance  of  opinion — as  far  as  the  author 
has  been  able  to  ascertain  it — -is  certainly  in  favour  of  that  at  (b). 

(d)  The  second  subject,  as  is  usual  in  slow  movements,  contains  only 
one  section,  and,  but  for  momentary  transition  into  G  minor,  is  entirely 
in  the  key  of  F  major.     The  first  four  bars  end  with  a  perfect  cadence 
in  bar  12,  the  retardation  of  the  tonic  chord,  however,  removing  the  effect 
of  finality   from  the  cadence. t    In  I3~i62,  the  foregoing  bars  are  repeated, 
this  time,  however,  they  lead  to  a  further  phrase,  the  subject  continuing 
to  bar  IQ1. 

(e)  The  one-bar  codetta  is   written   on  a    tonic  pedal.     Prout    does 
not  make  any  division  here,  but  considers  that  the  second  subject  con- 
tinues to  bar  2O1 ;  on  the  other  hand,  Goetschius  calls  the  bar,  codetta. 

In  discussing  the  close  of  the  exposition  in  the  slow  movement  of 
Sonata  VIII,  we  pointed  out  that  not  only  is  the  combination  of  a  tonic 
pedal  with  more  or  less  transient  modulation  to  the  key  of  the  subdom- 
inant  very  often  incidental  to  the  coda  and  codetta,  but  that  the  end 
of  the  second  subject  is  often  determined  by  the  presence  of  a  shake  ac- 
companying the  final  cadence.  Yet,  because  in  that  movement,  the  last 
three  bars  of  the  recapitulation  are  practically  identical  with  the  last 
three  bars  of  the  exposition  (of  course  with  change  of  key)  there  seems 
to  be  no  real  necessity  to  separate  them  from  the  second  subject  by  call- 
ing them  codetta.  In  this  movement,  however,  there  is  this  difference : 
if  we  look  to  the  end  of  the  movement,  we  find  that  there  is  an  extra  bar 
added  after  the  recapitulation  of  the  exposition  has  ceased.%  Short  as 
this  addition  may  be,  it  is  in  the  nature  of  a  small  coda,  and  as  it  is 
an  extension  to  the  oar  in  question,  we  incline  to  the  view  taken  by 
Goetschius,  who  calls  the  latter  bar  codetta  both  in  the  exposition  and 
the  recapitulation,  the  codetta  at  the  end  of  the  movement  being  length' 
ened  by  the  addition  of  the  second  bar. 

(f)  The  remainder  of  bar  20  (i.e.,  starting  on  the  second  quaver), 
written  on  the  chord  of  the  dominant  seventh  in  Bp  major  (the  tonic), 
forms  a  link  leading  to  the  recapitulation. 

(g)  As  is  usual  in  slow  movements  in  this  form,  both  subjects  reap- 
pear varied  by 'some  ornamentation. 

(h)  See  (e).  

*  See  supra  first  movements  of  this  sonata  and  infra,  of  Sonata  XV. 
f  Cf.  Sonata  X,  first  movement  (a),  paragraph  ii,  page  64. 
\  See  Sonata  X,  first  movement  (k),  paragraph  ii,  page  65. 


SONATA  NO.   XII.  83 

THIRD   MOVEMENT. 

(a)  The  exposition  in  this  movement,  which  on  first  hearing  seems 
so  clear  in  construction,  has,  nevertheless,  been  analysed  in,  at  least,  three 
different  ways. 

One  analysis,  which  we  will  call  No.  i,  is  that  given  in  the  Thematic 
Scheme  of  this  sonata,  from  which  the  second  differs  only  in  one  detail, 
viz.,  that  the  first  subject  is  divided  into  two,  instead  of  into  three,  sec- 
tions. In  the  second  analysis,  no  division  is  marked  in  bar  22.  There- 
fore, the  whole  passage  from  bar  15  to  bar  35  which,  in  our  accompany- 
ing Thematic  Scheme,  is  marked  as  second  and  third  sections,  forms, 
according  to  this  analysis,  only  one,  i.e.,  the  second,  section. 

The  third  analysis  differs  considerably  from  both  the  others,  and  is 
as  follows  : 

First  Subject       =  bars  I-221. 

Transition  =  bars  22-651. 

Second  Subject  =  bars  65-851. 

Codetta  =  bars  85-90. 

Whenever,  as  in  this  instance,  a  movement,  or  any  important  portion, 
or  portions,  of  it  can  be  viewed  in  more  than  one  way,  it  may  generally 
be  inferred  that  the  movement  contains  at  least  one  unusual  feature,  some- 
times more. 

The  passages  in  this  movement  which  give  rise  to  the  varying  opin- 
ions are : 

(i)    bars  22-35  ; 

(ii)  bars  5O-651; 

the  second  of  which  we  will  discuss  later  on. 

Bars  22-35. 

According  to  the  first  method  of  analysing  these  bars,  the  unusual 
feature  is  that  the  first  subject  is  exceptionally  long,  and  contains  three 
sections,  each  of  which  is  entirely  new. 

With  reference  to  the  bearing,  if  any,  that  the  omission  of  these  bars  from  their 
normal  position  in  the  recapitulation  (see  Thematic  Scheme)  has  on  the  question  at 
issue,  we  would  point  out  that  though,  in  Mozart's  time,  it  was  more  usual  for  the 
whole  of  the  first  subject  to  reappear  at  the  commencement  of  the  recapitulation. 
still  a  good  many  instances  are  to  be  met  with  in  which  a  portion,  and  sometimes 
even  the  whole  of  this  subject  is  omitted  at  this  point. 

According  to*  the  third  analysis,  which  excludes  these  bars  from  the 
first  subject  and  looks  upon  them  as  a  portion  of  the  transition,  the 
above  objections  automatically  disappear. 


84 


MOZART'S  PIANOFORTE  SONATAS. 


Yet,  in  spite  of  this  argument  in  favour  of  this  third  method,  we 
still  incline  to  one  which  includes  these  bars  as  a  portion  of  the  first  sub- 
ject, even  though,  by  such  an  analysis,  we  have  to  admit  the  presence  in 
the  movement  of  a  feature,  so  unusual,  as  three  distinct  sections  to  the 
first  subject.  For,  with  its  final  cadence  prolonged  for  four  bars  over 
a  tonic  pedal,  the  passage  in  question  ends  so  forcibly  in  the  key  of  the 
tonic,  that  the  impression  given  by  it  is  very  decidedly  that  of  the  final 
passage  of  a  first  subject,  and  not  that  of  the  opening  portion  of  a 
transition.* 

As  regards  the  question  of  the  sole  difference  between  the  first  and 
second  analyses,  viz.,  whether  bars  15-35  should  be  regarded  as  forming 
two  sections,  or  one,  we  prefer  the  former.  On  the  one  hand,  it  is  cer- 
tainly unusual  for  a  first  subject  to  contain  three  sections,  each  of  which 
is  entirely  new.t  Yet,  on  the  other  hand,  though  some  authorities  insist 
that  each  section  of  a  subject  must  end  with  a  -perfect  cadence,  after  all, 
a^  we  have  pointed  out  in  an  earlier  sonata,*  the  great  essential  in  deter- 
mining the  question  as  to  whether  any  passage  constitutes  a  new,  and 
separate,  section,  is  whether  there  is  clear  evidence  that  such  passage  con- 
tains a  fresh  musical  theme.  In  this  instance,  it  is  just  possible  there 
may  be  a  difference  of  opinion  as  to  whether  the  cadence,  in  bars  21-22, 
should  be  considered  a  "  direct "  or  an  "  inverted  "  perfect  cadence ;  but, 
of  the  fact  that  a  new  theme  starts  in  bar  22,  there  seems  no  doubt. 

(b)  This  section  consists  of  a  sentence  of  fourteen  bars  containing 
two  unequal  phrases.     The  first  phrase  is  six  bars  in  length,  and  ends  on 
a  half-cadence;  the  second,  a  repetition  of  the  first,  is  prolonged  to  eight 
bars  and  ends  on  a  full  cadence. 

(c)  The  second  section,  the  shortest  of  the  three,  is  a  great  contrast 
to  the  others  in  style  as  well  as  in  extent.     It  is  of  quiet,  song-like  char- 
acter, and,  during  its  short  eight  bars,  the  opening  figure  is  heard  three 
times. 


*  We  would  refer  here  to  the  discussion  on  a  somewhat  similar  passage  in  the 
Finale  of  Sonata  IX,  a  passage,  however,  which  does  not,  as  in  this  instance,  end  on 
a  tonic  pedal.  In  that  case,  also,  the  movement  is  a  Rondo,  and  we  would  call  the 
reader's  attention,  not  only  to  the  §,  b,  c,  paragraph  iv,  in  that  movement,  but  also 
to  its  footnote  *,  page  60. 

f  Hadow  draws  attention  to  the  fact  that  "where  the  first  subject  consists  of 
three  or  more  sections,  it  is  common  for  the  first  two  to  be  founded  upon  the  same 
phrase,  often  either  repeating  it  in  a  different  register  (Beethoven,  Pianoforte  Sonata 
Op.  31,  No.  3),  or  transposing  it  one  degree  higher  or  lower  in  the  scale  (Beethoven, 
Op.  31,  No.  1).  "  Sonata  Form." 

J  See  Sonata  X,  finale  (c),  pages  67,  68. 


SONATA   NO.   XII.  85 

(d)  The  first  phrase  of  this  section  is  four  bars  in.  length  and  ends 
with  transient  modulation  into  D  minor  (26).     Bars  2/-321  repeat  this 
phrase,  now  lengthened  to  -five  bars  and  modified,  so  as  to  close  with  a 
perfect  cadence  in  the  tonic.     The  section  ends  with  four  bars  on  a  tonic 
pedal. 

(e)  The  transition  in  this  movement,  like  the  corresponding  passage 
in  the  first  movement  of  this  sonata,  is  of  very  interesting  character  and, 
similarly,  starts  in  the  key  of  the  relative  minor.     During  a  great  portion 
of  the  passage  the  bass  imitates  the  treble  at  one  bar's  distance,  and  at 
the  octave  below.     The  second  phrase  (41-45)  is  a  variation  of  the  first 
phrase,  repeated  sequentially  in  the  key  of  C  major.     After  a  further 
short  sequence  (bars  46-47),  the  passage  ends  on  a  half-cadence,  in  49. 

(f)  The  special  point  to  notice  in  the  second  subject  is  that  the  first 
section  is  entirely  in  the  key  of  the  dominant  minor  \  a  device  unusual 
with,  though  not  unknown  to,  the  earlier  classical  composers  (see  infra). 
The  final  cadence  in  this  section  ends,  however,  on  a  "  Tierce  de  Picar- 
die/'*  and  the  following  section  is  in  the  dominant  major.     In  bars  54-55, 
we  find  the  minor  seventh  of  the  minor  scale  employed  as  a  note  of  the 
harmony, f  under  the  special  conditions  to  which  it  is  usually  restricted. 
Bars  56*  and  621  form  chords  of  the  augmented  sixth. 

Bars  $0-6$. 

This  is  the  second  important  passage  on  which  the  first  two  analyses 
differ  from  the  third  method  [see  (a)]. 

According  to  the  last  method,  not  only  does  the  transition  com- 
mence in  bar  22,  but  it  continues  to  bar  65,  thus  including  within  its 
compass  the  three  passages  marked  severally  in  the  Thematic  Scheme  of 
this  movement,  as  the  third  section  of  the  first  subject,  the  transition,  and 
the  first  section  of  the  second  subject  (d,  e  and  f).  It  is,  of  course,  the 
question  of  key  which  causes  the  difference  of  opinion  as  regards  the 
passage,  bars  50-65.  This  is  written  in  the  dominant  minor,  a  key  which, 
at  that  time,  was  exceptional  for  the  opening  of  the  second  subject.  Still 
we  find  it  occasionally  so  employed,  e.g.,  in  Haydn's  Quartet  in  A  major, 
Op.  20,  No.  6.  Moreover,  although,  according  to  Prout,  Mozart  was  less 
of  an  innovator  as  regards  "  form  "  than  his  older  contemporary,  yet,  as 

*  Note  that  the  major  chord  in  a  Tierce  de  Picardie  is  not  regarded  as  chromatic. 

f  These  conditions  are  :  that  the  minor  seventh  may  only  appear  as  a  note  of  the 
harmony  in  a  progression  descending  stepwise  from  the  tonic  to  the  submediant. 
When  this  progression  occurs  in  the  bass,  the  minor  seventh  may  bear  a  chord  of  the 
sixth,  but  is  not  allowed  to  form  part  of  any  other  chord.  Occasionally,  the  progres- 
sion of  the  seventh  is  to  the  note  a  semitone,  instead  of  a  tone,  below. 


36  MOZART'S  PIANOFORTE  SONATAS. 

we  have  seen  elsewhere,  certain  other  innovations  are  attributed  to  his 
initiative."1'  His  exceptional  use  of  the  key  of  the  relative  minor  in  ap- 
proaching the  recapitulation  should  also  be  borne  in  mind.  In  the  Finale 
of  Sonata  II,  and  in  the  slow  movement  of  Sonata  V  (q.v.  these  two)  he 
ends  his  free  fantasia  on  the  dominant  in  that  key,  instead  of  following 
the  almost  invariable  rule  at  that  time,  and  ending  it  on  the  dominant 
harmony  in  the  key  of  the  tonic. 

The  irregularity  of  the  key,  therefore,  seems  by  itself  insufficient  as 
an  argument  against  the  view  that  Mozart  wrote  this  passage  as  the  open- 
ing section  of  the  second  subject.  On  the  other  hand,  however,  if  the 
transition  is  considered  to  extend  from  bar  22  to  bar  65,  as  it  is  accord- 
ing to  the  third  analysis,  it  is  practically  as  long  as  the  two  subjects 
taken  together.  For  the  first  subject  is  twenty-two  bars  in  length,  the 
transition  is  forty-three,  and  the  second  subject — usually  the  most 
lengthy  portion  of  the  exposition — has  but  twenty-five  bars ;  such  an  ap- 
portionment is  very  exceptional. 

(g)  The  second  section  consists  of  one  sentence  which  is  repeated. 
The  repetition  is  considerably  lengthened  by  cadential  extensions.  There 
is  an  occasional  reference  in  the  semiquaver  figures  to  those  in  the  opening 
section  o'f  the  first  subject. 

(h)  The  free  fantasia  in  this  movement  is  a  most  interesting  one. 
The  specially  important  points  to  notice  in  it  are  : 

(i)  Its  striking  opening  with  the  first  phrase  of  the  first  subject 
transposed  into  the  key  of  the  dominant  minor,  and  followed  immedi- 
ately by  a  passage  founded  on  the  figures  of  the  same  phrase.  The 
latter  passage  modulates  transitorily  through  the  key  of  C  major,  thence 
by  means  of  the  chromatic  chord,  F  major  V7,  through  B  flat  minor  to 
E  flat  major,  in  which  key  (commencing  in  bar  112)  the  second  note- 
worthy passage— an  episode — occurs. 

As  a  rule,  an  episode  is  an  unusual  feature  in  the  free  fantasia, 
but  it  is  a  device  of  which  Mozart  seemed  very  fond.  The  episode  is 
followed  by  a  transitional  passage  modulating  through  G  minor  to 
F  minor,  in  which  key  there  is  a  passing  reference  to  the  second  section 
of  the  second  subject,  and  after  four  bars  on  dominant  harmony,  on  C, 
it  ends  with  a  brilliant  passage  founded  on  figures  from  the  original 
transition,  taken  by  inverse  movement  (see  bar  45),  which  leads  into  the 
recapitulation. 

*  These  innovations  were  :  his  writing  of  the  first  movement  of  a  sonata  fi)  as 
an  air  with  variations,  and  (ii1)  the  entire  movement — and  not  merely  its  introduction 
— Adagio.  Vide  Sonata  IV,  first  movement  fa),  page  22. 


SONATA  NO.  XII.  8; 

(j)  The  first  subject  reappears,  shortened  by  the  omission  of  the 
whole  of  the  last  section. 

(k)  The  transition  starts  here  in  G  minor  and  modulates  to  F  major, 
a  modulation  corresponding  to  that  in  the  original  passage  (viz.,  D  minor 
to  C  major).  It  starts  with  a  preliminary  (and  extra)  half  bar,  on  the 
chord  of  the  Italian  sixth. 

(1)  The  second  subject  reappears  in  the  keys  of  the  tonic  minor  and 
major,  the  second  section  being  lengthened  by  the  extension  of  the  final 
cadence.* 

(m)  The  third  section  of  the  first  subject,  which  was  omitted  in  the 
recapitulation  of  that  subject,  reappears  in  full  here  to  form  the  coda.f 


*  The  Coda  is  marked  by  some  as  commencing  in  bar  227,  with  the  cadential 
extension.  Compare,  however,  bars  227-2321  with  208-2101  and  220-2221,  and  note 
how  the  first-named  are  a  repetition  with  augmentation  of  the  others. 

t  Haydn  also  makes  use  of  a  similar  device,  viz.,  he  omits  the  repetition  of  cer- 
tain important  figures  from  their  normal  position  in  the  recapitulation,  and  then 
introduces  them  at  the  end  of  the  movement  "  as  a,  basis  whereon  to  build  his  Coda." 
See  Grove's  Dictionary,  article  on  "  Form,"  by  Sir  Hubert  Parry 


SONATA  No.  XIII*  IN  B  FLAT  MAJOR  (K.  333),  (1779). 
THEMATIC  SCHEME. 

A  llegro 

j  : ^*    "  _"^ 

/ 


In  three  movements. 


FIRST  MOVEMENT—  "  ALLEGRO,"  IN  B  FLAT  MAJOR.     SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

(a)f  First  Subject  in  Tonic, 
(b)  Transition. 

Second    Subject    in    F 
major  (Dominant), 
(c)    (§t  1.  23-38.     ] 
(d)   \  §    2.   39-501.     } 
(e)    (§    3.   50-1-59L  J 
(f)    Codetta. 
Double  bar  and  repeat. 

To  10 
104-22 

23-591 
59-2-63 

(g)  Bars  634-93. 

First  Subject  in  Tonic 
(unaltered), 
(h)  Transition      (1  e  ng  t  h- 
ened). 
Second    Subject    in 
Tonic  (lengthened). 
f§    1.    119-134.    } 
(j)       §  2.  135-152L 
(§  3.  152-U611. 
(k)  Codetta. 
(1)    Double  bar  and  repeat. 

934-103 
1034-118 
119-1611 

161-2-165 

SECOND  MOVEMENT— "  ANDANTE  CANTABILE,"  IN  E  FLAT  MAJOR  (KEY  OF  THE  SUB- 
DOMINANT),     (a)  SONATA  FORM. 

Bars.        FREE  FANTASIA.  II 


EXPOSITION. 


RECAPITULATION. 


Bars. 


ID)  First  Subject  in  Tonic. 

(c)  Transition. 

(d)  (Alternative     Analy- 

sis. 
<  First  Subject  1-13. 

(No  Transition. 

(e)  Second    Subject    in    B 
flat  major  (Dominant). 

(Section  1.  14-211.    * 
t  Section  2.    21-2-312 

(f)  Double  bar  and  repeat. 


1-81 
8-2-13 


(g)  Bars  32-50. 


14-312 


(h)  First  Subject  in  Tonic 

(ornamented). 

Transition     (orna- 
mented) . 

I  Alternative    Analy- 
sis. 

<  First    Subject    51— 
63. 

(No  Transition. 

Second    Subject    in 

Tonic  (varied). 

/Section  1.  64-71L    ) 
(Section  2.  71-2-81-2.  f 
(j)    Double  bar  and  repeat, 
(k)  One-bar  Coda. 


51-581 
58-2-63 


64-81-2 


81-2-82 


*  This  sonata,  composed  in  Vienna  in  1779,  appeared  some  years  later  as  Op.  7,  in  conjunction  with  two 
others,  viz.,  the  Pianoforte  Sonata  in  D  major,  No.  6,  and  a  sonata  for  pianoforte  and  violin.  See  footnote  to 
Thematic  Scheme  of  Sonata  VI. 

t  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 


text. 


J  The  symbol  §  is  here  employed  to  denote  a  flection  of  a  subject. 


SONATA  NO.   XIII. 

THIRD  MOVEMENT—"  ALLEGRETTO  GRAZIOSO,"  IN  B  FLAT  MAJOR. 

SONATA  FORM. 


(a)  RONDO- 


PART  I. 
EXPOSITION. 

Bars. 

PART  II. 
EPISODE. 

PART  III. 
RECAPITULATION. 

Bars. 

(b)  Principal     Subject     in 
Tonic  (first  entry), 
(c)  Transition. 

(d)  S€C9nd    Subject    in    F 
major  (Dominant), 
(e)  Link. 

Principal     Subject    in 
Tonic  (second  entry). 

1-16 
16-2-242 

243-361 
36-40 

41-561 

(f)     Transitional' 
connecting    pas- 
sage,       56-2—75, 
leading  to 
New  melody,   76 
-90. 

Passage    leading 
t  o      Recapitula- 
tion, 91—111. 

Principal     Subject     in 
Tonic   (third  entry). 
(g)  Transition     (much 
lengthened), 
(h)  Second     Subject     in 
Tonic  (lengthened), 
(j)    Pedal,  Tonic. 
(k)   "Cadenza  in  Tempo." 
(1)     [Principal  Subject  in 
J      Tonic      (partial 
}      fourth  entry  onl  v)  . 
t  Coda. 

112-127 
127-2-  148 

1483-1641 
164-171 
171-198 

199-206 
206-224 

FIRST  MOVEMENT. 

(a)  The  first  subject  is  an  eight-bar  sentence  prolonged  to  ten  bars 
by  repetition  of  the  third  two-bar  section.     The  perfect  cadence  at  the 
end  of  the  first  phrase  (bar  4)  should  be  compared  with  that  at  the  end 
of  the  sentence.     It  is  a  striking  instance  of  how  greatly  the  effect  of  the 
finality  of  the  perfect  cadence  depends  upon  the  twofold  circumstance, 
viz. :   (i)  as  to  which  note  of  the  tonic  chord  is  sounded  in  the  highest 
part,  and  (ii)  as  to  whether  or  not  this  chord  falls  on  a  strong  accent  in 
the  bar.*     In  bar  4,  the  pause  given  by  the  cadence  may  be  said  to  be 
one  of  expectancy — the  mind  awaits  something  further  which,  instinc- 
tively, it  feels  must  follow — and  only  in  the  second  case  is  the  effect 
produced  one  of  complete  rest. 

(b)  The  transition  is  founded  principally  on  the  opening  figure  of 
the  first  subject,  with  a  repetition  of  which  it  commences.     A  variation 
of  this   figure — further   slightly   modified   at   each  repetition — is   heard 
three  times  in  as  many  bars  (14-17)  and,  with  its  first  four  notes  aug- 
mented, twice  in  bars  19-22.     The  passage  modulates  in  the  second  bar 
to  F  major,  in  which  key  it  ends  on  a  half-cadence. 

(c)  The  first  section  of  the  second  subject  is  a  sixteen-bar  sentence 
in  four-bar  rhythm.     The  first  half  of  the  sentence  ends  on  a  half -cadence 
in  F  major,  bar  30,  after  which  the  third  phrase  repeats  the  contents  of 
the  first,  with  slight  variations,  the  fourth  phrase  altering  so  as  to  lead 
to  the  final  perfect  cadence. 


*  Cf.  the  previous  Sonata,  second  movement  (d),  page  82;  and  Sonata  X,  first 
movement  (a),  paragraph  ii,  page  64. 


90  MOZART'S   PIANOFORTE   SONATAS. 

(d)  The  second  section  is  an  eight-bar  sentence  prolonged  to  twelve 
bars  by  cadential  repetition  of  the  whole  of  the  after-phrase.     The  in- 
version of   the  parts  at  the  commencement   of   the  cadential  repetition 
should  be  noted. 

(e)  This  is  a  sentence  of  nine  bars.     It  consists  of  a  four-bar  phrase 
ending  on  a  perfect  cadence,  which  phrase  is  then  repeated,  being  ex- 
tended, the  second  time,  to  five  bars.     It  should  be  noted  that  this  length- 
ening, though  not  caused  by  doubling  the  value  of  each  note  (=   aug- 
mentation) is,  however,  caused  by  doubling  the  length  of  each  of  the  two 
chords  in  bar  53. 

(f)  The  special  feature  to  notice  in  the  short  codetta  is  that  its  open 
ing  figure  (repeated  in  bar  61)  is  the  same  augmented  figure,  taken  by 
inverse  movement :,  which  we  have  already  met  with  in  bars  19  and  21. 

(g)  The  free  fantasia  starts  with  a  sentence  in  the  dominant  founded 
on  the  opening  figure  of  the  first  subject  in  combination  with  a  three- 
note  figure  from  the  opening  of  the  second  section  of  the  second  subject. 
With  the  exception  of  a  passing  modulation  into  G  minor,  bars  67-68, 
the  sentence  continues  in  F  major  until  the  very  last  chord  where  the 
sudden  close  on  the  chord  of  F  minor,  into  which  key  the  music  now 
modulates,  is  very  effective.     The  final  cadence  is  a  repetition  of  the  one 
which  occurs  in  the  third  section  of  the  second  subject,  bars  53-54.    From 
this  point  the  working-out  refers  to  the  semiquaver  figures  in  bars  35-36, 
as  well  as  to  the  opening  figure  of  the  movement,  the  music  modulatmg 
through  C  minor,  and  B  flat,  to  G  minor,  in  which  key  occurs  a  half- 
cadence,  several  times  repeated,  bars  80-86.     A  passage  written  on  the 
dominant  in  B  flat  follows,  alternating  between  the  two  modes  of  the 
key,  which  serves  as  a  connecting  link  leading  to  the  recapitulation  of 
the  first  subject. 

The  chord  of  F  major  Jf  iv°'p7b  resolving  on  to  the  second  inversion 
of  the  tonic  chord,  in  bars  69-70,  and  the  very  interesting  progression  of 
chords  in  the  key  of  G  minor,  in  bar  80,  should  be  noted.  In  the  latter, 
the  third  chord  is  that  extremely  rare  and  ambiguous  one — vi°7 — ambig- 
uous in  that  it  can  be  equally  considered  to  be  derived  from  the  chro- 
matic supertonic  eleventh,  or  from  the  chord  of  the  dominant  thirteenth. 
IT.  is  preceded  by  the  first  inversion  of  the  minor  triad  on  the  dominant 
and  followed  by  the  chord  of  the  German  sixth.*  See  page  85,  foot- 
note f. 

*  Referring  to  a  similar  passage  in  C  minor  which  occurs  in  Schubert's  Mass  in 
E  flat,  Prout  writes  :  "  Occasionally  progressions  are  found  in  which  the  mental  effect 
produced  is  decidedly  that  of  supertonic  rather  than  of  dominant  harmony.  This 
is  more  particularly  the  case  when  the  vi7  resolves  upon  a  chord  containing  the 
leading-note  of  the  dominant  key." 


SONATA   NO.   XIII.  91 

Still  another  noteworthy,  because  somewhat  unusual,  succession  of 
chords  occurs  in  bars  85-861.  Twice  here  do  we  find  the  second  inversion 
of  a  common  ch6rd  sounded  on  the  weak  beat,  followed  in  each  case 
on  the  stronger  beat  by  a  triad  on  the  same  bass-note.  This  is  allowable 
because,  in  each  instance,  the  second  inversion  is  not  only  followed,  but 
is  also  preceded  by  a  chord  on  the  same  note.  It  is  the  only  condition 
under  which  a  J  chord  thus  followed,  may  occur  in  the  weaker  position 
of  the  two  chords,  and  it  may  be  as  well  to  remark  that  in  such  cases  the 
J  chord  is  not  cadential. 

(h)  The  transition  reappears  lengthened  from  twelve  to  fifteen  bars. 
The  modification  is  in  the  first  portion,  the  last  eight  bars  being  a  trans- 
position of  the  corresponding  portion  of  the  original  passage  from  the 
key  of  the  dominant  into  that  of  the  tonic. 

(j)  With  the  exception  of  the  second  section,  the  second  subject  re- 
appears in  the  key  of  the  tonic  with  but  very  slight  alteration.  The 
second  section  is,  however,  very  much  extended.  Bars  143-146,  excepting 
for  the  first  group  of  quavers,  form  a  descending,  modulating  sequence, 
passing  through  the  keys  of  C  minor,  B  flat  major,  and  G  minor.  The 
first  chord,  in  bar  147,  is  the  first  inversion  of  the  chromatic  supertonic 
seventh  in  B  flat  major,  resolving  on  to  the  second  inversion  of  the  tonic 
triad,  here  used  as  a  passing  J;  and  the  final  chord,  in  bar  148,  is  the 
chord  of  the  Italian  sixth  on  the  flat  submediant  in  the  same  key. 

(k)  The  movement  closes  with  the  original  codetta  transposed  into 
the  key  of  the  tonic. 

(1)  See  Sonata  II,  first  movement  (1),  page  9 


SECOND   MOVEMENT. 

(a)  See  Sonata  VIII,  second  movement  (a),  page  50. 

(b)  The  first  subject  consists  of  one  sentence,  whose  second  phrase  is 
an  ornamented  repetition  of  the  first,  modified  also  to  end  on  a  perfect, 
instead  of  on  a  half,  cadence,  as  in  the  fore-phrase. 

(c)  The  transition  opens  with  an  important  five-note  figure.     In  the 
second  subject  frequent  allusions  are  made  to  the  repeated  notes  with 
which  it  commences,  and  the  free  fantasia  is   founded  almost  entirely 
on  it. 

(d)  See  Sonata  I,  first  movement  (b)  and  (c).  • 

(e)  The  second  subject  consists  of  two  sentences  the  second  of  which 
is  prolonged  by  cadential  repetitions. 


92  MOZART'S  PIANOFORTE   SONATAS. 

It  is  possible  to  look  upon  these  two  sentences  as  forming  either  one 
section,  or  two ;  we  prefer  the  latter. 

The  fore-phrase  of  the  first  sentence  (or  first  §)  subdivides  into  two 
two-bar  sections ;  the  after-phrase,  which  is  founded  on  the  first,  and 
starts  with  transient  modulation  to  the  key  of  the  tonic,  is  not  divisible 
into  sections.  In  bar  20,  we  find  the  figure  from  bar  17  repeated  with 
augmentation. 

The  last  three  notes,  in  bar  31,  in  E  flat  major,  form  a  link  leading 
(a)  to  the  repetition  of  the  exposition,  and  (b)  to  the  free  fantasia. 

(f)  See  Sonata  I,  second  movement  (f),  page  4. 

(g)  As  mentioned  above  in  (c)  the  free  fantasia  is  worked  almost 
entirely  on  the  opening  figure  of  the  transition.     It  starts  in  F  minor, 
however,  with  an  imitation — freely  inverted — of  the  opening  two  bars 
of   the   first   subject,    the   cadence   in    A  flat  major  (42-43),  being  also 
founded  on  the  final  cadence  in  the  same  subject. 

From  bars  35  to  41,  the  five-note  figure  from  the  transition — with  the 
second  half  of  the  figure  augmented — is  divided  between  the  bass  and 
the  treble,  the  former  ascending  chromatically,  and  the  passage  modu- 
lating through  C  minor  to  A  flat  major.  In  43-44,  the  whole  figure  is 
transferred  to  the  treble  where,  during  the  remaining  bars,  it  is  slightly 
developed,  and  the  music  passes  through  F  minor  (44-45);  D  flat  minor 
(46-47);  to  E  flat  major,  on  the  dominant  seventh  in  which  key  the  sec- 
tion closes. 

(h)  As  is  very  usual  in  the  recapitulation  in  slow  movements  in  son- 
ata-form, the  first  part  reappears  with  florid  ornamentation. 

(j)  See  Sonata  V,  second  movement  (j),  page  30;  and  Sonata  II,  first 
movement  (1),  page  9. 

(k)  Bar  52  forms  a  very  brief  coda.     (See  Sonata  V,  Finale.) 


THIRD   MOVEMENT. 

(a)  This  Rondo,  like  the  Finale  of  Sonata  IX,  is  in  definite  rondo- 
sonata  form.     The  movement  is  rendered  distinctive  by  the  presence  of 
the  cadenza,  which  is  an  unusual  feature  in  a  sonata  for  pianoforte  solo 
(see(k)). 

(b)  The  first  subject  consists  of  an  eight-bar  sentence  ending  with 
a  perfect  cadence  in  the  tonic,  after  which  the  sentence  is  repeated  with 
slight  variations. 


SONATA  NO.   XIII.  93 

(c)  The  transition  commences  with  a  new  melody  in  the  key  of  the 
tonic.  Its  second  two-bar  section  is  in  free  sequence  with  the  first,  and 
the  following  phrase  also  starts  with  a  similar  opening  figure,  com- 
mencing one  degree  higher.  This  modulates  at  once  into  F  major  (dom- 
inant), in  which  key  the  passage  ends  on  a  half -cadence,  bar  24. 

For  reasons  detailed  below,  bars  20-^-24^  are  marked  as  forming  the  second  phrase 
of  the  original  transition,  and  bars  144'1-14$2  as  the  closing  phrase  of  the  corres 
ponding  passage  in  the  recapitulation.  According,  however,  to  another  analysis 
with  which  we  have  met,  these  passages  form  the  opening  of  the  second  subject  in 
the  exposition,  and  in  the  recapitulation,  respectively,  the  transition  being  marked 
as  ending,  in  the  first  instance,  on  the  immediately  preceding  full  cadence  in  the 
tonic,  and,  in  the  second,  on  the  preceding  inverted  cadence  on  F.  In  order  to 
determine  the  point  at  which  the  transition  ends  and  the  second  subject  commences 
it  is  necessary,  at  any  rate  in  doubtful  cases,  to  compare  the  corresponding  portions 
of  the  exposition  and  recapitulation.  For  the  second  subject  which,  in  the  exposi- 
tion, appears  in  some  key  other  than  the  tonic  (here  the  dominant*)  reappears,  in 
the  recapitulation,  transposed  into  the  key  of  the  tonic,  and  the  point  at  which  such 
definite  transposition  takes  place  usually  marks  the  commencement  of  this  subject 
and,  ipso  facto,  the  end  of  the  transition  as  well. 

After  comparing  the  two  portions  in  this  movement  and  noting  their  similari- 
ties and  differences,  we  shall  review  them  in  detail,  in  the  first  instance,  more  especi- 
ally with  a  view  to  establishing  the  close  of  the  original  transition,  and  afterwards 
with  a  view  to  establishing  that  of  the  second.  The  arguments  which  apply  equally 
to  both  passages,  in  this  instance,  are  not  altogether  adequate  to  prove  each  passage 
individually. 

Bars  2o-*-2/. 

Such  comparison  then  in  this  movement  shows  : 

(i)  That  the  passage  which  commences  in  bar  24 — after  the  four  - 
bar  phrase  in  question — is  the  first  melody  which  reappears 
in  the  later  part  of  the  movement  transposed  into  the  key 
of  the  tonic  (see  bar  I482). 

(ii)  That  the  modulatory  passage  in  triplets,  bars  137-143— 
which  is  undoubtedly  a  continuation  of  the  second  transi- 
tion (a  point  on  which  the  analysis,  above  referred  to,  agrees) 
— is  founded  on  bars  21-22,  the  first  two  of  the  same  four 
bars  now  under  consideration. 

(iii)  That  though  the  key  of  the  tonic  is  definitely  reached  in 
bar  144,  that  bar  and  the  three  immediately  following  do 
not  repeat  any  melody  which  has  already  been  heard  in  the 

*  In  Sonata-Rondos  in  the  major  mode,  the  second  subject  is  usually  in  the  key 
of  the  dominant.  Prout  points  out  that  Beethoven  invariably  followed  this  rule 
though,  in  his  movements  in  sonata-form,  he  made  many  innovations  as  to  the  key 
of  his  second  subject.  See  Sonata  VIII,  third  movement  (e)  and  footnote  *,  page  53. 


94  MOZART'S  PIANOFORTE  SONATAS. 

dominant,  but  are  all  founded  on  a  single  run  —  in  bar  23, 
the  third  bar  of  this  same  passage;  and  it  should  also  be 
noted  that  they  start  with  an  almost  note-for-note  reproduc- 
tion —  not  a  transposition  —  of  this  run,  of  which  they  form 
an  extension,  or  elaboration. 

(iv)  That  these  runs  culminate  in  the  following  bar  in  a  parallel 
manner  to  the  single  run  in  bar  23,  viz.,  on  a  half  -cadence. 

If,  therefore,  bars  137-143  form  a  portion  of  the  second  transition 
(with  which  view,  as  has  already  been  mentioned,  the  other  analysis 
agrees)  it  is  a  strong  argument  in  favour  of  the  assumption  that  bars 
21-22,  on  which  they  are  founded,  form  part  of  the  original  transition. 
And  such  an  inference  is  strengthened  when  taken  in  conjunction  with 
the  facts  that  : 

(i)  The  phrase  which  commences  with  these  bars  (i.e.,  bars  21-22), 
after  continuing  for  a  further  two  bars,  closes  (in  24)  on  a 
half  -cadence  in  the  key  of  the  dominant,  a  very  frequent 
mode  of  ending  the  transition  in  the  exposition;  and 

(ii)  It  is  only  after  the  occurrence  of  this  half-cadence  [see  (a)] 
that  the  melody  commences  which,  in  the  recapitulation,  is 
transposed  into  the  key  of  the  tonic. 


Bars  1  44.- 

A  half-cadence  in  the  tonic,  which  corresponds  to  the  above-men- 
tioned half-cadence,  in  bars  23-24,  occurs  in  the  recapitulation,  in  147- 
148,  and,  according  to  the  view  expressed  by  th'5  other  analysis,  it  there 
forms  the  close  of  the  first  phrase  of  the  second  subject. 

The  student  should,  however,  note  particularly  the  conditions  under 
which  it  occurs  there,  viz.,  it  is  the  end  of  a  four-bar  phrase  which  is  not 
even  an  approximate  transposition  of  a  melody  from  the  exposition,  but, 
as  mentioned  above,  is  one  which  commences  with  a  practically  note-for- 
note  repetition  of  the  original  run  in  bar  23,  on  which  the  phrase  is  en- 
tirely founded  :  such  a  lengthened  passage  of  brilliant  runs  in  this  posi- 
tion seems  to  us  more  characteristic  of  the  end  of  a  transition  than  of  the 
commencement  of  a  second  subject.  And  when,  in  addition  to  this,  we 
also  take  into  fuller  consideration  the  origin  and  context  of  bars  1  44-148^ 
we  feel  we  are  justified  in  coming  to  the  conclusion  that  these  bars  (like 
bars  2cr2-242  in  the  exposition)  form  the  close  of  the  transition  in  the 
recapitulation. 


SONATA  NO.   XIII.  95 

Their  origin. 

The  bar  on  which  all  these  runs  are  founded  is  the  third  bar 
of  a  phrase  of  which,  in  its  original  form  and  position,  there  is  no 
question  of  subdivision  between  the  transition  and  the  second 
subject. 

Their  context. 

They  follow  immediately  on  bars  which  are  undoubtedly 
transition,  and  are  followed  by  the  half -cadence,  parallel  to  the 
one  which,  after  a  careful  study  and  comparison  of  both  pas- 
sages, we  have  felt  justified  in  marking  on  our  accompanying 
Thematic  Scheme,  as  the  end  of  the  original  transition. 

Before  leaving  this  discussion,  we  give  the  following  essential  de- 
tails relative  to  the  other  analysis  of  the  debatable  passages  as  the  stu- 
dent, in  forming  his  own  conclusions  upon  them,  should  study  the  pas- 
sages from  both  standpoints.  He  must  bear  in  mind  that,  according  to 
this  analysis  : 

(i)  The  -first  bar  in  the  exposition  of  the  second  subject  is  not 
bar  25,  but  bar  21,  which  latter  is  written  on  the  chord  of 
F  major  (dominant). 

(ii)  The  first  bar  in  the  recapitulation  of  this  subject  is  145, 
written  on  an  inversion  of  tonic  harmony,  to  which  the  run 
in  question  forms  but  a  "  musical  prefix  ";  and 
(iii)  In  bars  145  and  147,  this  run  is  transposed  and  written  on 
tonic  harmony,  and  it  is  the  latter  bar  (and  not  the  "  musical 
prefix")  which,  in  the  recapitulation,  actually  corresponds 
to  bar  23  in  the  exposition. 

We  have  come  to  our  decision  against  the  inclusion  in  the  second 
subject  of  bars  I44-I482,  on  other  grounds,  and  therefore  look  upon  the 
fact  that  they  would  form  such  an  exceptional  commencement  to  the 
recapitulation  of  this  subject  as  affording  but  an  additional  argument  in 
favour  of  our  decision.  This,  however,  must  not  be  confounded  with, 
nor  converted  into,  the  conclusion  that  the  latter  fact,  by  itself,  would 
furnish  indisputable  proof  on  the  point  in  question. 

(d)  The  fore-phrase  of  the  second  subject  consists  entirely  of  repeti- 
tions of  the  opening  motive,  each  time  slightly  varied.  By  a  species  of 
"augmentation"  in  the  cadential  repetition  of  the  after-phrase,  bar  31  is 
converted  into  two  bars— 34-35— the  length  of  each  of  its  two  chords 
(though  not  of  each  individual  note)  being  doubled. 


96  MOZART'S  PIANOFORTE  SONATAS. 

(e)  These  few  bars  serve  as  a  link  between  the  second  subject  and 
the  re-entry  of  the  principal  subject.     It  should  be  observed  that  the 
pedal-note  is  sustained  both  in  the  treble  and  bass  during  the  first  three 
bars,  .and  also  that,  whilst  this  note  starts  as  the  tonic  in  the  key  of  F 
major,  it  ends  as  the  dominant  (in  the  chord  of  the  dominant  seventh) 
in  B  flat  major. 

(f)  The  episode  proper — or  third  subject,  as  some  designate  it — is 
preceded  by  a  transitional  passage  which,  commencing  like  the  previous 
transition,  afterwards  modulates  through   G  minor  to  E   flat  major,  in 
which  key,  in  bar  76,  the  episode  itself  commences.     The  full  cadence  in 
this  key  which  we  expect  at  the  end  of  this  melody,  in  bar  89,  is  not 
sounded.     We  have,  instead,  an  interrupted  cadence  and,  two  bars  later, 
on  the  cadential  repetition,  a  modulation  to  C  minor,  in  which  key  there 
is  a  sudden  return  to  the  opening  phrase  of  the  principal  subject     This 
phrase  reappears  in  the  key  of  B  flat — starting  in  the  major,  and  chang- 
ing into  the  minor  mode — and  prolonged,  the  music  modulating  transi- 
ently through  G  flat  major,  and  E  flat  minor,  back  to  the  key  of  B  flat 
minor.     A  repetition  of  the  earlier  link  (e),  here  lengthened  by  two  bars, 
follows  and  leads  to  the  recapitulation  of  the  principal  subject. 

The  chords  of  the  augmented  sixth  in  bars  63,  101  and  102,  should 
be  noted,  also  the  inversion  of  parts  in  63.  Compare  the  figure  in  bars 
65  and  67,  with  bar  5. 

(g)  See  (c)  small  type. 

(h)  The  second  subject  reappears  in  the  key  of  the  tonic  slightly 
lengthened  and  varied.* 

(j)  This  passage  is  founded  on  the  link,  bars  36-40,  and  itself  forms 
a  connecting  link  between  the  recapitulation  and  the  cadenza. 

(k)  The  introduction  of  a  cadenza  into  a  pianoforte  sonata  is  un- 
usual. Since  its  main  object  is  to  show  off  the  powers  and  capabilities  of 
the  soloist,  such  a  passage  is  rarely  to  be  met  with  in  a  work  written 
entirely  for  a  single  executant.  The  cadenza  is  characteristic  of  a  con- 
certo, in  which,  for  a  long  time,  it  formed  an  essential  feature.  It  was 
usually  marked  to  be  interpolated,  as  in  this  instance,  after  the  recapitu- 
lation, and  after  a  pause  on  the  chord  of  the  J,  generally  the  chord  Ic. 
This  cadenza  refers  principally  to  the  opening  motive  (=  two  bars)  of 
the  principal  subject,  and  to  the  figures  from  the  link,  bars  36-40,  which 
passage  is  introduced  in  its  entirety,  bars  179-183.  It  ends  with  brilliant 
scale  passages  which  lead  to  the  fourth  entry  of  the  principal  subject. 

*  Ridley  Prentice  points  out  that  the  modification*  of  the  passage,  in  Lar  154. 
was  necessitated  by  the  short  compass  of  the  old  instruments. 


SONATA  NO.   XIII.  97 

The  pedals,  the  instances  of  "  inversion  of  parts,"  the  melodic  sequence 
over  the  pedal,  bars  186-188,  and  the  harmonic  sequence,  bars  189-193, 
should  all  be  noted. 

(1)  There  are  three  methods  of  analysing  the  close  of  this  move- 
ment. 

According  to  the  one  given  on  the  accompanying  Thematic  Scheme, 
there  is  a  partial  fourth  entry  of  the  principal  subject  which  merges  into 
the  Coda  in  bar  206.  The  latter  passage  commences  with  a  fragment  of 
the  second  subject  (repeated  varied),  and  concludes  with  several  bars  re- 
miniscent of  the  principal  subject. 

Again,  according  to  another  analysis,  the  Coda  does  not  commence 
till  bar  213,  the  previous  passage,  bars  206-2 131,  being  looked  upon  as  a 
modified  ending  to  the  principal  subject.  These  bars,  however,  are  so 
clearly  founded  upon  the  close  of  the  second  subject  that,  of  the  two 
analyses,  we  incline  to  the  one  first  given  above,  an  analysis  with  which 
Ridley  Prentice  agrees. 

On  the  other  hand,  Prout  looks  upon  the  whole  of  the  -passage  from 
the  end,  of  the  cadenza,  in  bar  198,  to  the  close  of  the  movement,  as  form- 
ing the  Coda.  According  to  his  view,  therefore,  the  Coda  commences 
with  the  partial  re-entry  of  the  principal  subject. 


i 


FANTASIA*  IN  C  MINOR  (K.  475),  (1785). 
SONATA  No.  XIV,  IN  C  MINOR  (K.  457),  (1784). 

THEMATIC  SCHEME. 

Adagio 


Molto  Allegro 


'. — _ — — : — r^—m — F=- —  — ^ f + 


(a)  and  (b)  Fantasia  in  C  minor.     In  five  short  movements. 


FIRST  MOVEMENT— "ADAGIO,"  IN  TWO  SECTIONS. 


(c)  §  i,  Introductory  Passage,  founded  principally  on  the  opening  motive     ... 

Double  bar. 

(d)  §  ii,  Melody  in  D  major,     (e)  Ternary  Form. 

J  Fore-phrase  ending  on  half -cadence       ...  ...     26-273  \ 

\  After-phrase  ending  with  full  cadence    ...  ...     JT*-^* 

Double  bar  and  repeat. 
Part  ii. 

Two  bars,  containing  slight  digression 

(Repetition  of  fore-phrase  of  Part  i,  the  original  half -cadence  being 
•j      here  replaced  by  an  interrupted  cadence. 
[  Repetition  of  after-phrase  of  Part  i. 

Repetition  of  Parts  ii  and  Hi,  modified  at  the  close  to  lead  into  the 
lowing  movement    ... 

Double  bar. 


26-293 


29-3-313 
31-3-353 


35-3-41 


*  According  to   Otto   Jahn,   Mozart  himself  published  this  Fantasia  in  combmation  with  the 
ata  in  C  minor,  as  Op.  11,  placing  the  Fantasia  first  as  an  introduction  to  the  sonata ^0^. 
not  composed  till  nearly  a  twelvemonth  later  than  the  latter.     Shedlook  remarks  that  the .unity  of 
and  feeling  between  the  two  no  doubt  led  to  their  juxtaposition.      "  The   Pianoforte   Sonata. 


FANTASIA  IN  C  MINOR. 
SECOND  MOVEMENT— (f)  "ALLEGRO,"  IN  TWO  SECTIONS. 

§  i,  Passage  in  the  key  of  A  minor,  repeated  in  G  minor,  and  ending  on  an 
inverted  cadence  on  C — as  Dominant  of  F  major  

§  ii,  Melody  starting  in  F  major,  modulating  freely,  and  followed  by  a  long 
link  ending  with  a  cadenza  on  the  Dominant  seventh  in  B  flat  major  ... 

Double  bar. 


99 


Bars 


42-61 
62-89 


THIRD  MOVEMENT— (g)  "  AND  ANTING,"  IN  B  FLAT  MAJOR.     BINARY 

Part  i. 

Eight-bar  sentence,  repeated  with  slight  variations    ... 
Part  ii. 

Eight-bar  sentence,   repeated  with  slight  variations,  ending,  the  second 
time,  tin  an  interrupted  cadence 

Link        

Double  bar. 


FORM. 
Bars. 


90-105 


106-121 
122-128 


FOURTH  MOVEMENT— (h)  "  PIU  ALLEGRO." 

Forms  "  Connecting  Episode,'1  modulating  from  G  minor  to  C  minor.     It  is 
in  no  special  "Form"          ...         ...         ...         ...         ...         ...•        ...         ... 

Double  bar. 


Bars. 


129-164 


FIFTH  MOVEMENT— (j)  "TEMPO  PRIMO." 

Repetition,  in  the  key  of  C  minor,  of  the  opening  passage  of  the  "Adagio," 
much  shortened   and  modified 

Double   bar. 


Bars. 


165-180 


(a)*  Sonata  in  C  minor.    In  three  movements. 


FIRST  MOVEMENT—"  ALLEGRO  MOLTO,"  IN  C  MINOR.     SONATA  FORM. 
EXPOSITION.  Bars.        FREE  FANTASIA.  RECAPITULATION.  Bars. 


(b)  First  Subject  in  Tonic. 

(c)  Transition         (overlap- 

ping). 

Second  Subject  in  E 
flat  major  (relative 
major). 

(d)  f§fl.  36-591.       1 
<e)   \§    2.    59-2-711.    J 
(f)    Link  (overlapping). 

Double  bar  and  repeat. 


1-191 
19-35 


36-711 


71-74 


(g)  Bars  75—99. 


First  Subject  in  Tonic. 
(h)  Transition        (overlap- 

ping)    shortened     and 

altered. 
(j)    Second  Subject  in  Tonic 

minor  (slightly  length- 

ened) . 

f§  1.  131-1561.     \ 

\§    2.    156-2-168L  J 
(k)  Double  bar  and  repeat. 
(1)    Coda  (overlapping). 


100-1181 
118-130 
131-1681 

168-185 


These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 


t  The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject. 


100 


MOZART'S  PIANOFORTE  SONATAS. 


SECOND  MOVEMENT— "  ADAGIO,"  IN  E  FLAT  MAJOR,     (a)  OLD  RONDO  FORM. 


(b)  Principal  Subject  (first  entry)       

(c)  Episode  I,  in  B  flat  major  (Dominant) 

Principal  Subject  (second  entry)  varied  with  ornamentation         

(d)  Episode  II,  in  A  flat  major  (Subdominant),  and  G  flat  major 
Principal   Subject   (third   entry)    with   further   varied,    and  more   florid, 

ornamentation         

(e)  Coda      


Bars. 


1-7 

8-16 

17-23 

24-40 

41-473 
474-57 


THIRD  MOVEMENT—"  ALLEGRO  ASSA1,"  IN  C  MINOR,     (a)  RONDO-SONATA  FORM. 


PART  I. 
EXPOSITION. 


Bars. 


PART  II. 
EPISODE. 


PART  III. 
RECAPITULATION. 


Bars. 


(b)  Principal     Subject     in 
Tonic  (first  entry). 
(§    1.    1-161.  \ 
\§  2.  163-44.  J 


(c)  Link. 

(d)  Second    Subject    in    E 
flat      major      (relative 
major). 

/§   1.  47-741. 
\§   2.  74-2-96. 

(e)  Link. 

(f)  Principal     Subject     in 
Tonic     (second    entry) 
incomplete.    With 
Link. 


1-44 

45-46 

47-96 

96-2-102 

103-145 


(g)  Bars  146-166. 


(h)  Second    Subject    (in 
Tonic)    merging    to- 
wards  the   end   into   a 
"link-like"       passage 
which  leads  to  the  Re- 
capitulation    of     the 
Principal  Subject. 
§  1.  168-1971. 
§  2.    and    "link" 

197-2-220. 
Alternative     Analy-\ 

sis. 

Second    Subject   168 1 
-2051.  ( 

Transitional      p  a  s- 
sage  205-2—220.       ' 
(j)   'Principal     Subject     in 
Tonic  (third  entry)  in- 
complete.    With  Link. 
f§   1.  221-2481.) 
\§  2.  2483-274.  J 
(k)  Repetition    of    portion 

of  Episode. 
(1)    Coda. 


168-220 


221-274 


275-287 
288-319 


FANTASIA  IN  C  MINOR. 

(a)  "  Five  movements,  in  various  keys  and  tempos,  are  closely  bound 
together  into  a  whole  by  connecting  passages  or  harmonic  inflections. 
Each  movement,  though  not  completely  separate,  has  yet  a  certain  inde- 
pendence, with  melodies  of  its  own  rounded  into  a  simple  song-like  form; 
there  is  no  attempt  at  the  elaboration,  or  even  the  full  development,  of  a 
motif,  but  everything  presses  onwards,  each  section  leading  as  of  neces- 
sity to  the  next,  which  is  intended  to  form  a  lively  contrast  to  what  has 
preceded  it.  In  spite  of  the  predominance  of  a  slow  tempo,  the  whole  work 


FANTASIA   IN  C   MINOR.  IOI 

has  a  restless  character,  and  the  recurrence  at  the  end  of  the  serious  and 
sustained  commencement  leads  only  to  a  provisional  and  unsatisfying 
conclusion.  In  spite  of  its  length  the  fantasia  preserves  the  character 
of  an  introduction,  though  not  of  necessity  to  the  sonata  with  which  it 
is  printed.  The  mood  which  is  so  distinctly  expressed  in  the  two  first 
bars  of  the  Adagio  is  preserved  throughout  the  Fantasia;  it  is  a  sad 
and  sorrowful  mood  of  doubting  and  questioning,  of  struggling  and 
striving,  of  longing  for  deliverance  from  a  heavy  burden,  for  freedom 
from  doubt  and  care;  disheartened  by  failure,  unrefreshed  by  consola- 
tion, it  sinks  at  last  into  itself  and  is  heard  no  more."* 

(b)  It  is  of  interest  to  note  the  absence  of  the  key  signatures  from 
this  Fantasia.     With  the  exception  of  that  in  the  third  movement — the 
Andantino — Mozart  has,  whether  by  design  or  accident,  omitted  all  key 
signatures  throughout  the  work. 

(c)  The  opening  passage  in  this  movement  may  well  be  looked  upon 
as  an  introduction  to  the  whole  Fantasia. t     It  is  mainly  built  on  repeti- 
tions of  the  opening  figure,  with  modulation  into  a  new  key  at  nearly 
every  repetition.     Bars  3  and  4  are  in  B  flat  minor. J     In  bar  5,  the  music 
modulates  into  D  flat  major.     In  bar  8  the  chord  is  approached  as  the 
last  inversion  of  the  dominant  minor  ninth  in  the  above-mentioned  key 
fAtJ  =  BpU),  and  it  resolves  on  to  the  second  inversion  of  the  chord  of 
E  flat  minor.     In  bar  10,  the  key  changes  enharmonically  into  B  major. 
Here,  also,  the  parts  are  inverted  and  the  passage  continues  over  a  chro- 
matically  descending  bass.     In   bar    16,   there   is  a   further  enharmonic 
change,  again  from  the  chord  of  E  flat  minor  into  the  key  of  B  major. 
Bar  17  is  in  B  minor,  after  which,  in  bar  18,  the  key  changes  to  G  major. 
In  21,  there  is  a  further  modulation  to  B  minor,  the  introductory  passage 
ending  at  the  double  bar  on  a  reiterated  half -cadence  in  this  key.     The 
imitation  between  the  tenor  and  alto  parts,  in  bar  21,  which  is  written 
on  the  chord  of  the  augmented  sixth,  should  be  noted. 

(d)  This  melody,  though  written  with  four  crotchets  to  the  bar,  is 
.virtually  in  J  time,  each  of  its  two-bar  phrases  being,  therefore,  equiva- 
lent in  length  to  the  normal  four-bar  phrase.     Each  part  of  the  melody 
is,  as  usual,  repeated,  but  on  account  of  the  slight  modification  at  the 
end,  the  second  double  bar  and  repeat  marks  are  omitted,  and  the  repeti- 
tion of  Parts  II  and  III  is  written  out  in  full. 


"Life  of  Mozart,"  Otto  Jalm,  translated  by  P.  Townsend. 
f  Whilst  a  shortened  and  modified  repetition  of  it  brings  the  work  to  a  close. 
\  Bare  3  and  4  are  by  some  considered  to  be  in  the  key  of  F  major. 


102 


MOZART'S  PIANOFORTE  SONATAS. 


(e)  We  have  classified  this  little  melody  as  in  ternary  form.  At  the 
same  time  we  would  point  out  to  the  student  that  although  the  impres- 
sion given  by  the  music  after  the  digression  seems  very  decidedly  one  of 
a  return  to  the  commencement  of  the  melody,  still,  owing  to  one  particu- 
lar feature  in  it,  the  form  is  not  so  emphatically  ternary  as  to  preclude 
the  possibility  of  others  looking  upon  it  as  binary. 

The  melody,  therefore,  comes  under  the  category  of  those  little  pieces 
which  Mr.  Macpherson  styles  as  "hybrid"  in  form,  the  cause,  however, 
of  the  indefmiteness,  in  this  instance,  differs  somewhat  from  that  in  either 
of  the  previous  examples  with  which  we  have  already  met  in  these  son- 
atas,* and  is  of  sufficient  interest  to  merit  closer  examination. 

As  we  have  hitherto  had  occasion  to  remark,  the  nature  of  the  return 
is  the  point  of  paramount  importance  to  be  observed  when  having  to  de- 
termine as  between  binary  and  ternary  form.t  In  other  words,  is  the 
return,  after  the  digression,  made  to  the  first,  or  to  the  second,  phrase  of 
Part  I? — in  this  instance,  are  bars  32-33  a  repetition  of  26-27,  or  of 
28-29?  In  tabular  form,  the  difference  between  these  two  theories,  in 
this  case,  is  clearly  shown,  thus  : 

(i)  If  bars'  32-33  are  considered  to  be  a  reproduction  of  bars 
26-27  (the  first  -phrase  of  Part  I)  the  form  of  the  melody  is 
ternary,  and  the  latter  part  of  the  movement  will  be  ana- 
lysed as  follows  : 

Bars  30-31— the  digression  =  Part  IT. 

Bars  32-33 — the  return   =  the  fore-phrase  of  Part  HI. 

Bars  34-35  =  the  after-phrase  of  Part  III. 

And  bars  36-41  =  the  repetition  of  Parts  II  and  III. 

(ii)  If,  on  the  other  hand,  bars  32-33  are  considered  to  be  a  repe- 
tition of  bars  28-29  (^/le  second  phrase  of  Part  I),  the  form 
of  the  melody  is  binary,  and  the  whole  of  the  above  portion 
of  the  movement  will  constitute  Part  II,  thus  : 

Bars  30-31 — the  digression — form  the  fore-phrase  of  Part  II. 
Bars  32-33 — the  return — form  the  after-phrase  of  Part  II. 
Bars  34-35  form  a  cadential  repetition  of  this  after-phrase. 
And  the  whole  of  bars  36-41  =  a  repetition  of  Part  II. 

Now  as,  in  this  melody,  the  first  half  of  each  phrase  in  Part  I  is 
alike,  even  those  who  would  look  upon  the  form  as  binary  must  admit 
that  the  impression  of  the  return,  in  bar  32,  is,  at  least,  as  strongly  one 


*  Compare  with  Sonata  VI,  Finale  (a)  ;  Sonata  VIII,  Finale  (h)  ;  and  Sonata  XI. 
first  movement  (b). 

t  See  Sonata  VIII,  Finale,  footnote  ||  to  (h),  page  53. 


FANTASIA  IN  C  MINOR.  1 03 

of  a  return  to  the  first  phrase,  as  it  is  of  a  return  to  the  second.  In  order, 
therefore,  even  to  conjecture  which  of  the  two  phrases  Mozart  is  really 
repeating  we  must  refer  to  their  second  halves,  and  here  we  find  a  certain 
element  for  doubt.  For,  whilst  the  first  beat  of  bar  33  (in  the  first 
phrase  of  the  return)  is  exactly  similar  to  the  corresponding-  point  at  the 
end  of  the  first  phrase  of  Part  I — thus  favouring  the  view  of  ternary 
form — the  melody  of  the  actual  cadence  which  follows,  corresponds  to 
that  at  the  end  of  the  second  phrase  of  Part  I — a  typical  feature  of  the 
binary  form.  But  there  is  this  important  difference,  viz.,  that  the  cadence 
now  is  not  a  repetition  of  the  perfect  cadence  found  at  the  close  of  Part  I, 
it  is  modified  into  an  interrupted  cadence.  And  following  this,  is  a 
second  phrase — the  exact  counterpart  of  the  after-phrase  in  Part  I  (in- 
cluding the  characteristic  perfect  cadence) — which  can,  therefore,  con- 
sistently be  looked  upon  as  the  after-phrase  in  Part  III. 

Summed  up,  the  foregoing  three  factors,*  considered  in  conjunction, 
go  far  to  establish  the  ternary  nature  and  characteristics  inherent  in  the 
music. 

(f)  This  little  movement  opens  with  a  passage  of  nine  bars  in  the 
key   of   A   minor.     The  passage   is   immediately   repeated   in   G   minor, 
lengthened  by  two  extra  bars,  which  modulate,  and  lead  into  the  second 
portion  of  the  movement,  commencing  in  the  key  of  F  major.     Like  the 
previous  passage,  this  portion  starts  with  two  bars  of  bass  accompani- 
ment only.     The  first  phrase  of  the  succeeding  melody  appears  in  the 
major  mode,  and  is  repeated  in  the  minor,  and  it  is  followed  by  several 
bars  which  modulate  through  D  flat  major,  and  E  flat  minor,  to  D  flat 
minor,  enharmonically  changed,  in  bar  78,  to  C  sharp  minor.     A  long 
connecting  passage  follows,  over  a  continuation  of  the  already  chromatic- 
ally descending  bass.     This  ends  with  a  short  cadenza  (on  the  dominant 
seventh  in  B  flat  major),  which  leads  into  the  succeeding  movement — the 
Andantino — in  the  new  key. 

(g)  This  melody  is  in  binary  form  for,  in  this  instance,  not  only  is 


*  These  three  factors  are  : 

(i)  The  strong  impression,  after  the  digression,  of  a  return  to  the  commencement 
of  the  melody. 

(ii)  The  modification  of  the  cadence,  in  bar  33,  i.e.,  its  alteration  from  a  perfect, 
into  a  middle  cadence,  thus  converting  it  into  a  more  usual  ending  for  a  fore-phrase; 
and 

(iii)  This  phrase  being  followed  by  another,  which  is  a  complete  and  unaltered 
repetition  of  the  after-phrase  of  Part  I,  and  which  therefore  forms  a  perfectly  normal 
after-phrase  to  Part  III. 


104  MOZART'S  PIANOFORTE  SONATAS. 

its  shape  distinctly  binary,*  but  there  is  no  doubt  that  the  "  return  "  is  to 
the  second  phrase  of  Part  I  (see  §  e).  Yet,  because  of  the  fact  that  here 
again  the  two  phrases  of  Part  1  commence  alike,  though  only  to  the  extent 
of  the  initial  four-note  figure,  there  is  a  momentary  feeling  as  if  the  re- 
turn, after  the  slight  digression  with  which  Part  II  commences,  were  going 
to  be  to  the  commencement  of  the  melody.  Hence  Percy  Goetschius  de- 
signates its  form  as  "incipient  three-part  song-form." 

The  dominant  pedal,  over  which  the  first  phrase  of  Part  II  is  written, 
should  be  noted,  as  also  the  interrupted  cadence  with  its  momentary  sug- 
gestion of  the  relative  minor  key  (bar  121),  which  replaces  the  expected 
final  perfect  cadence.  The  link,  founded  on  previous  figures  in  the  move- 
ment, forms  an  ascending  modulating  sequence,  passing  from  the  key 
of  B  flat  major,  through  C  minor,  to  D  minor.  Bar  128  modulates  to 
G  minor,  and  leads  to  the  next  section  of  the  Fantasia — the  "  Piu  Alle- 
gro"— which  commences  in  this  key. 

(h)  This  section  may  be  looked  upon  as  a  connecting  episode  between 
the  previous  melody  and  the  final  section  of  the  Fantasia.  Like  the  in- 
troductory passage  with  which  this  series  of  small  movements  opens,  this 
one  is  not  only  written  in  no  special  "  form,"  but  it  is  also  essentially 
modulatory  in  character  and,  too,  it  is  founded  for  a  great  part  on  one 
motive,  in  the  present  instance  the  groundwork  of  the  bass  in  the  opening 
bars,  129-130.  It  commences  sequentially,  the  first  six  bars,  in  fact,  form- 
ing a  real  sequence  which  modulates  from  G  minor,  through  F  minor, 
and  E  flat  minor,  to  D  flat  major.  Thence,  touching  the  keys  of  B  flat 
minor,  and  G  flat  major,  and  momentarily  suggesting  others,  the  passage 
at  length  reaches  a  definite  cadence  in  the  key  of  A  flat  major,  in  bar 
142.  In  145,  it  modulates  to  F  minor,  in  151,  to  G  minor,  and  in  155,  to 
C  minor.  The  section  ends  on  the  dominant  ninth  in  the  last-named  key, 
and  thus  leads  to  the  final  movement  of  the  Fantasia. 

It  is  interesting  to  note  that  until  this  return  to  C  minor,  the  key  of 
the  tonic  has  not  been  heard  since  it  was  quitted  at  the  very  commence- 
ment of  the  Fantasia,  i.e.,  after  the  first  two  bars  of  the  opening  Adagio. 

(j)  In  this  movement,  the  following  details  should  be  noted,  viz., 
that 

(i)  Bar  169  forms  the  chord  of  the  Neapolitan  sixth  in  C  minor, 
and  that  it  resolves,  in  the  succeeding  bar,  on  to  the  first 
inversion  of  the  chromatic  supertonic  ninth; 

*  I.e.,  an  eigh1>bar  sentence  (repeated)  =  Part  I,  responded  to  by  a  second 
eight-bar  sentence  (repeated)  =  Part  II.  The  link  at  the  end  in  no  way  modifies  the 
binary  "  shape  "  of  the  movement.  It  is  an  addition  after  the  form  has  been  clearly 
established. 


SONATA  NO.   XIV.  105 

(ii)  In  bars   174-176,  the  parts  are  inverted,  and  that  they  are 
re-inverted  in  the  latter  half  of  the  last-named  bar; 

(iii)  In  bars    173-174    (repeated   in    bars    176-177)    the  perfect 
cadence  is  approached  through  a  passing  modulation  to  the 
key  of  the  subdominant  minor. 

In  writing  of  a  somewhat  similar  passage,  Banister  describes  it  as  "  a  momentary 
modulation  suggested  to  the  key  of  the  subdominant,  which  is,  as  it  were,  an  ex- 
tension of  the  idea  of  the  plagal  cadence,  but  is  here  followed  by  the  dominant  har- 
mony as  though  for  yet  further  confirmation  of  the  original  key  in  contradiction  to 
the  suggested  modulation." 


SONATA  NO.  XIV. 

FIRST   MOVEMENT. 

(.a)  *"  Without  question  this  is  the  most  important  of  all  Mozart's 
pianoforte  sonatas.  Surpassing  all  the  others  by  reason  of  the  fire  and 
passion  which,  to  its  last  note,  breathe  through  it,  it  foreshadows  the 
pianoforte  sonata,  as  it  was  destined  to  become  in  the  hands  of  Beet- 
hoven." 

t"  From  among  the  sonatas  the  three  in  A  minor,  C  minor,  and  F, 
stand  out  with  special  prominence.  In  the  first,  as  regards  the  writing, 
virtuosity  asserts  itself,  and,  in  the  third,  contrapuntal  skill ;  but  in  the 
second,  the  greatness  of  music  makes  us  forget  the  means  by  which  that 
greatness  is  achieved.  The  Sonatas  in  A  minor  and  F  are  wonderful 

productions,  yet  they  stand  a  little  lower  than  the  C  minor The 

last  movement  is  no  mere  Rondo,  but  one  which  stands  in  close  relation- 
ship to  the  opening  Allegro;  they  both  have  the  same  tragic  spirit;  both 
seem  the  outpouring  of  a  soul  battling  with  fate.  The  slow  movement 
reveals  Mozart's  gift  of  melody  and  graceful  ornamentation,  yet  beneath 
the  latter  runs  a  vein  of  earnestness ;  the  theme  of  the  middle  section 
expresses  subdued  sadness.  The  affinity  between  this  work  and  Beet- 
hoven's Sonata  (Op.  10,  No.  i)  in  the  same  key  is  very  striking." 


*  Translated  from  the  note  to  this  sonata  in  Kochel's  Catalogue. 
t   "The  Pianoforte   Sonata,"   J.    S.    Shedlock.      Remarks  on   Sonatas   Nos.   8, 
14  and  15. 


106  MOZART'S   PIANOFORTE   SONATAS. 

(b)  Two  points  of  detail  to  be  noticed  in  the  first  subject  are,  that 

(i)  Bars  9-13°  are  written  over  a  dominant  pedal;  and 

(ii)  The  upper  parts  in  bars  Q4-ii2  are  inverted  in  the  following 
bars. 

(c)  The  transition  overlaps  the  first  subject,  and  starts  with  a  repeti- 
tion of  the  opening  motive  of  this  subject,  taken  an  octave  higher,  lol- 
lowed,  in  bars  21-22,  by  still  another  repetition  of  the  same  motive,  taken 
in  the  bass  alone  and  on  the  dominant  chord  in  E  flat  major.     A  new 
melody  in  the  latter  key  commences  in  the  next  bar,  followed  by  a  link 
which  leads  into  yet  another  fresh  melody — the  second  subject — in  the 
same  key. 

Despite  the  fact  that  the  first  new  melody  (starting  in  23)  .is  in  E 
flat — the  key  of  the  second  subject* — we  have  marked  the  passage  as  a 
portion  of  the  transition,  and  not  as  the  commencement  of  the  second 
subject  because : 

(i)  It  does  not  appear  again  in  the  recapitulation,  but  is  there 
replaced  by  a  fresh  melodious  passage;  and 

(ii)  The  nature  of  the  bars  (3O4~35)  which  immediately  follow, 
is  characteristic  of  the  close  of  a  transition,  and  these  bars 
are  reproduced  in  the  recapitulation. 

That  this  view,  which  is  supported  by  various  authorities,  is,  how- 
ever, open  to  a  certain  element  of  doubt  is  shown  by  Banister's  remarks 
on  the  exposition  in  this  movement.  He  says  :  "  No.  XIV  has  a  first  sub- 
ject of  eighteen  bars,  entirely  in  C  minor,  followed  by  a  modulating 
passage  of  four  bars  derived'  from  that  subject,  leading  to  the  second 
subject  in  E  flat,  which  is  of  considerable  extent,  if  all  in  that  key  is  to 
be  considered  as  one  subject,  having,  it  may  be  said,  three  principal  divi- 
sions and  then  the  Codetta." 

It  is  of  interest  to  note  that  whilst  Beethoven  frequently  makes  use 
of  the  method  of  starting  his  transitions  as  if  the  first  subject  were  about 
to  recommence,  instances  of  such  treatment  are  comparatively  rarely  to 
be  met  with  in  the  works  of  Haydn  and  Mozart.  See,  however,  the  first 
movement  of  Sonata  VIII,  in  A  minor. 

In  the  first  movement  of  Sonata  XIII,  where  the  transition  also  com- 
mences with  the  opening  motive  of  the  first  subject,  and  the  greater  part 
of  the  continuation  of  the  passage  is  worked  on  the  same  figure,  the  first 


*  In  Sonata  VIII,  in  A  minor,  Mozart  has  similarly  chosen  the  key  of  the  rela- 
tive major  for  his  second  subject. 


SONATA   NO.   XIV.  IO./ 

bar  alone  is  in  the  key  of  the  tonic,  the  music  modulating  immediately 
after  to  the  key  of  the  second  subject.  (Compare  it  with  the  passage 
now  under  discussion  in  the  present  movement.) 

And,  again,  in  the  first  movement  of  Sonata  XV,  where  the  transi- 
tion is  founded  entirely  on  the  opening  motive  of  the  first  subject,  the 
transition  does  not  even  start  in  the  key  of  the  tonic. 

(d)  Details  to  be  noticed  in  this  passage  are : 

(i)  The  inversion  of  the  parts,  where  the  hands  cross,  in  bars 

38-39  and  42-43 ; 
(ii)  The  sequential  repetition  of  the  first  phrase  of  the  subject, 

bars  40-43 ;  and 
(iii)  The  chord  of  the  Italian  sixth  in  F  minor,  which  occurs 

both  in  bars  44  and  49. 

(e)  A  very  important   feature  to  note  is  that  this  section  and  the 
second  section  of  the  second  subject  in  the  Finale  of  this  sonata,  are 
founded  on  the  same  motive.     (Compare  with  bars  74,  etc.,  in  the  latter 
movement.) 

(f)  This  link  forms  an  exceptional  feature  in  these  sonatas.    Through 
out  the  whole  of  the  quick  movements  in  this  form,  it  is  the  only  instance 
to  be  met  with  in  which  such  a  passage  occurs  at  the  end  of  the  exposi- 
tion.*    It  is  founded  on  the  first  subject  and,  overlapping  the  last  note 
of  the  second  subject,f  it  modulates  in  the  last  bar,  thus  leading  both 
back  to  the  repetition  of  the  exposition,  and  onwards,  into  the  free  fan- 
tasia. 

Stewart  Macpherson  points  out  that,  though  such  passages  are  to 
be  met  v/ith  frequently  in  the  works  of  modern  writers,  with  earlier  com- 
posers, the  exposition,  m  movements  in  sonata-form,  almost  invariably 
ended  with  a  somewhat  strongly  marked  perfect  cadence  in  the  secondary 

tey.J 

(g)  With  the  exception  of  four  bars  (79-82),  which  reproduce  in  the 
key  of  F  minor  a  portion  of  the  melody  from  the  transition,  the  free 
fantasia  is  worked  entirely  on  the  opening  motive  of  the  first  subject. 
The  section  starts  with  this  figure  on  the  chord  of  C  major,  quitted  as 
the  dominant  of  F  minor.     In  bar  85,  there  is  a  modulation  to  G  minor, 
the  parts  being  inverted,  and,  in  89,  to  C  minor.     Banister  marks  the 


*  Short  links  are,  however,  also  to  be  found  in  the  slow  movements  of  Sonatas 
V  and  XIII,  both  of  which  are  written  in  sonata-form. 

f  It  is  quite  a  possible  view  to  consider  that  the  second  subject  ends  on  the  first 
beat  in  bar  67,  and  that  the  remaining  bars  of  the  exposition  form  a  codetta. 

I   "Form  in  Music,"   by  Stewart  Macpherson. 


io8 


MOZART'S   PIANOFORTE   SONATAS. 


chord  in  bars  89-90,  as  that  of  the  rarely-used  second  inversion  of  the 
diminished  triad  on  the  leading-note,  here  a  derivative,  or  incomplete  in- 
version, of  dominant  harmony.  The  doubled  leading-note  should  be 
noted. 

The  harmony  of  these  bars  can  also  be  considered  as  an  inversion  of  the  chord 
of  the  dominant  ninth.  The  progression  of  the  A  flat — the  ninth — which  is  heard  on 
the  third  beat  in  both  bars,  is,  each  time,  as  much  in  keeping  with  its  character  as 
ninth)  as  it  is  if  the  note  is  looked  upon  merely  as  an  unessential  discord. 

(h)  The  transition  here,  as  in  the  original  passage,  overlaps  the  first 
subject,  with  the  opening  figure  of  which  it  commences.  It  is  varied, 
however,  by  imitational  working  between  the  parts.  The  passage  is 
shortened  and  modified,  the  melody  in  E  flat,  which  occurs  in  the  ori- 
ginal transition  (commencing  bar  23)  being  omitted,  and  a  few  bars  of 
entirely  new  matter,  in  the  key  of  D  flat  major,  inserted  in  its  place.  (See 
(c),  par.  ii.) 

(j)  The  second  subject,  slightly  modified,  reappears  in  the  key  of 
the  tonic,  in  the  minor  mode,  however,  instead  of  in  its  tonic  major  (see 
Sonata  VIII,  in  A  minor,  first  movement  (j)  and  footnote),  page  50. 

(k)  See  Sonata  II,  first  movement  (1),  page  9. 

(1)  The  coda  is  founded  on  the  first  subject.  It  starts  like  the  link, 
only  with  inversion  of  the  parts.  The  opening  few  bars,  during  which 
the  imitation  between  the  treble  and  bass  is  continued,  are  sequential. 
(See  Sonata  V,  second  movement  (k),  par.  ii,  page  30.) 

A  very  interesting  point  to  notice  in  this  movement  is  the  great  importance 
which  Mozart  gives  to  the  bold  opening  motive  of  the  first  subject.  With  the  excep- 
tion of  the  second  subject,  each  of  the  more  important  divisions  throughout  the  move- 
ment commence  with  this  figure  and,  too,  the  free  fantasia  is  founded  almost  en- 
tirely on  it. 

SECOND   MOVEMENT. 

(a)  In  most  analyses  this  movement  is  classified  as  in  the  older  rondo 
form.  Banister,  however,  first  analyses  it  as  in  episodical  form  thus  : 
Part  I,  bars  1-23;  the  episode,  bars  24-40;  Part  III  and  Coda,  41-57;  but 
he  adds  afterwards  "perhaps  it  may  be  reckoned  as  having  two  (i.e., 
episodes),  that  which  I  have  reckoned  as  the  second  part  of  the  -first  sub- 
ject, being  considered  as  an  episode"  Percy  Goetschius  classifies  it  as 
in  "fully  developed  five-part  form,"  of  which  he  considers  it  to  be  an 
example  "unusually  broad  in  design,  approaching  a  certain  grade  of  the 
higher  forms."  At  the  same  time,  he  looks  upon  the  form  as  being  more 
nearly  allied  to  that  of  the  song-form  with  two  trios,  than  to  that  of  the 
ordinary  rondo  form.  The  latter,  he  remarks,  is  "more  compact,  more 


SONATA  NO.   XIV.  IOQ 

coherent  and  continuous*  and  more  highly  developed.  This  manifests 
itself  in  the  relation  of  the  themes  to  each  other  which,  despite  external 
contrast,  is  more  intimate  than  that  between  the  principal  and  subordinate 
song  (or  Trio);  further,  in  the  transitional  passages  from  one  theme  into 
the  other  (especially  the  re-transition  or  'returning  passage');  in  the 
customary  elaboration  of  the  recurring  principal  theme;  and  in  the  almost 
indispensable  Coda,  which  often  assumes  considerable  importance,  and 
an  elaborate  form  and  character." t 

(b)  As  written,  the  principal  subject  is  a  sentence  of  seven  bars  in 
length,  there  being  an  elision  of  a  bar  (presumably  the  third)  in  the  first 
half  of  the  sentence.     This  is  an  instance,  however,  in  which  Mozart  has 
evidently  barred  his  movement  incorrectly.     If  each  bar,  as  it  now  ap- 
pears, be  divided  into  two,  and  the  time  thus  changed  from  four,  to  two, 
crotchets  in  the  bar,  we  shall  find  that  the  music  is  written  as  Mozart 
evidently  intended  it  to  be  played. 

As  it  is  now  written,  the  subject  subdivides  very  unusually  into  regu- 
lar one-bar  sections,  each  section  ending  on  a  definite  cadence,  the  cadence 
itself  as  regularly  occurring  in  the  second,  and  weaker,  half  of  the  bar. 
When  written  according  to  the  other  method,  the  sentence  subdivides  into 
two-bar  sections,  in  each  of  which  the  cadence  falls  in  a  normal  position, 
viz.,  in  the  second — usually  the  more  strongly  accented— of  the  two  bars. 

(c)  In  this  melody,  the  sentence  is  prolonged  by  cadential  repetitions 
from  bar  13,  to  bar  I61.     The  remainder  of  bar  16  forms  a  link  on  the 
dominant  harmony  in  E  flat,  which  leads  to  the  second  entry  of  the  prin- 
cipal subject.     The  link  starts  on  the  fourth  inversion  of  the  dominant 
eleventh,  in  which,  first  the  major  ninth  gives  place  to  the  minor  ninth, 
and  then,  as  is  so  frequently  to  be  met  with,  both  ninth  and  eleventh  re- 
solve, and  the  root  position  of  the  dominant  seventh  remains. 

The  chord  on  the  fourth  beat,  in  bar  12,  should  also  be  noted.  Ac- 
cording to  the  views  of  some  theorists,  this  chord  would  be  considered 
to  be  approached  here  as  the  chromatic  chord  I[,9b,  in  C  minor,  through 
which  key  there  is  transient  modulation,  and  to  be  quitted  as  II(,9b,  in  the 
key  of  B  flat  major.  Others,  however,  would  not  consider  that  there  is 
even  a  passing  modulation  to  C  minor,  in  this  bar.  In  this  case,  the 
fourth  chord  would,  of  course,  be  regarded  as  being  both  approached 
and  quitted  as  the  chord  of  II(>9b,  in  the  key  of  B  flat  major.J 

(d)  This  episode  starts  with  a  melody  in  A  flat,  the  key  of  the  sub- 
dominant,  which  modulates,  and  the  first  part  ends  on  an  inverted  cadence 

*  Banister  aptly  speaks  of  the  "circular  impulse  "  of  a  Rondo. 

f  See  "  Lessons  in  Music  Form." 
|  See  Sonata  III,  Finale,  footnote  *  to  (k),  page  20. 


i  io  MOZART'S  PIANOFORTE  SONATAS. 

in  B  flat  major  (bar  31).  The  second  part  commences  in  G  flat 
major,  with  a  repetition  of  the  opening  bars  of  the  above  melody,  fol- 
lowed by  a  modulating  sequential  passage,  which  passes  through  the  keys 
of  A  flat  minor,  B  flat  minor,  to  C  minor,  and  closes  with  a  half-cadence, 
C  minor  VIG.6V.  Two  further  bars  modulate  to  the  original  key  of 
E  flat  major,  and  lead  into  the  third  entry  of  the  principal  subject. 

(e)  The  coda,  founded  upon  the  principal  subject  and  the  flrst  epi- 
sode, ends  with  a,  repetition  of  the  concluding  bars  of  the  latter,  trans- 
posed into  the  key  of  the  tonic. 

THIRD    MOVEMENT. 

(a)  See  first  movement  (a),  par.  ii. 

This  movement,  like  the  Finale  in  Sonata  IX,  is  in  undoubted  rondo- 
sonata-form.  Like  each  of  the  previous  Finales  in  rondo  form  in  these 
sonatas,  it  also  exhibits  certain  unusual  features.* 

(b)  The  principal  subject  is  unusually  long  and  varied.     It  consists 
of  two  sections,  each  ending  with  a  perfect  cadence  in  the  tonic.     As  the 
second  of  these  sections  itself  contains  two  distinct  musical  ideas  (com- 
mencing respectively  in  bars   16  and  26),  Banister  describes  the  subject 
as  "  threefold." 

(c)  There  is  no  passage  of  transition  ;  a  single  chord  on  the  dominant 
seventh  in  E  flat  major,  serves  as  a  connecting  link,  and  leads  into  this 
key,  in  which  the  second  subject  appears. 

(d)  The  point  of  paramount  importance  to  notice  in  this  subject  is 
that  its  second  section  is  founded  on  the  same  figure  as  the  correspond- 
ing section  of  the  second  subject  in  the  first  movement  of  this  sonata 
(compare  with  first  movement,  bars  59-60,  etc.). 

Both  first  and  second  sections  of  the  subject  are  prolonged  by  caden- 
tial  repetitions.  In  the  first  section  this  lengthening  takes  place  at  the 
end  of  a  middle  phrase,  in  the  second  section,  at  the  very  end,  after  the 
repetition  of  the  sentence,  f  The  tonic  pedal  on  which  the  subject  com- 
mences should  be  noted,  as  also  the  chord  progressions  in  E  flat  major  : 
(i)  Jtiv'b,  PVIG.6V  (bars  56-58), 


and   (ii)  JfivV,   1°,  VI3,  V7   (bars   72-73). 


*  Of  this  Rondo,  Banister  writes  :  "There  is  nothing  in  it  of  the  disjointedness 
which  sometimes  marks  a  Hondo,  although  there  are  many  rests  and  pauses,  which 
are  of  great  power." 

f  Alternatively  the  second  subject  may  be  considered  to  end  in  bar  90,  the  link 
commencing  in  bar  91. 


SONATA  NO.   XIV.  Ill 

(e)  These  few  bars  modulate  from  E  flat  major  to  C  minor,  and  form 
a  connecting  passage  leading-  into  the  second  entry  of  the  principal  sub- 
ject. 

(f)  At  this  entry,  on  the  repetition  of  the  second  section,  the  last 
phrase  of  the  principal  subject  is   omitted.     In  its  place,  we  hear  the 
immediately  preceding  figure  reproduced  on  the  chord  of  the  diminished 
seventh  in  F  minor,  in  which  key  the  following  episode  commences. 

(g)  This  episode  is  notably  short. 

The  episode  occurring  at  this  point  of  a  sonata-rondo  is  usually  of 
some  length,  on  which  account  it  is  often  known  as  the  long  episode. 
This  one  consists  solely  of  a  short  passage,  taken  first  in  the  key  of  F 
minor,  modulating  to  G  minor,  and  then  repeated  in  G  minor,  modulating 
to  C  minor  (the  tonic),  and  thus  leading  to  Part  III,  the  recapitulation,  of 
the  movement. 

(h)  It  is  of  interest  to  note  that  at  this  point  the  construction  of  the 
movement  resembles  that  of  a  movement  in  sonata  form,  in  which  the 
recapitulation  of  the  second  subject  is  taken  irregularly  before  that  of  the 
first  subject  (compare  with  Sonata  IX,  first  movement.  See  also  Finale, 
in  Sonata  VII). 

Both  sections  of  the  subject  are  somewhat  lengthened,  the  second 
being  also  much  modified  towards  the  close.  Instead  of  terminating  for  a 
second  time  on  a  perfect  cadence  in  the  tonic,  the  sentence,  on  being  re- 
peated, merges  halfway  through  into  a  passage  based  on  figures  from  the 
principal  subject,  into  the  recapitulation  of  which  subject  it  directly  leads. 

In  some  analyses  of  this  movement,  the  recapitulation  of  the  second  subject  is 
marked  as  definitely  terminating  on  the  perfect  cadence  in  bar  205,  the  "  connecting  '' 
passage  being  considered  to  commence  immediately  afterwards  with  the  repetition 
of  the  opening  bars  of  the  second  section. 

(j)  The  first  section  of  the  principal  subject  reappears  considerably 
lengthened,  whilst  the  termination  of  the  second  section  is  modified  in 
similar  manner  to  that  at  the  previous  entry.  The  greater  part  of  the 
lengthening  above  mentioned,  is  produced  by  "augmentation"  at  the  end 
of  each  little  phrase  in  the  passage  marked  "  a  piacere,"  which  is  based  on 
figures  from  the  previously  heard  opening  bars  of  the  principal  subject. 
The  constant  pauses,  in  combination  with  the  ad  libitum  variations  of 
tempo,  which  the  above  words  indicate,  convert  the  passage  into  what 
Banister  describes  as  "  somewhat  of  the  nature  of  a  recitative." 


112  MOZART'S   PIANOFORTE   SONATAS. 

The  passing  modulation  to  the  key  of  the  subdominant  minor  (bars 
234,  etc.),  and  the  chromatic  supertonic  triad  and  discords  (bars  242-245) 
should  be  noted. 

(k)  The  first  portion  of  the  episode,  modified  so  as  to  end  with  a 
perfect  cadence  in  C  minor  (the  tonic),  is  here  interpolated  between  the 
close  of  the  principal  subject  and  the  commencement  of  the  ccda. 

(1)  The  coda  is  founded  on  the  second  subject.  Bar  298  forms  the 
chord  of  the  Neapolitan  sixth  in  C  minor. 

Ridley  Prentice  marks  the  coda  as  commencing  in  bar  262. 


(a)*  SONATA  No.  XVt,  IN  F  MAJOR. 

First  two  movements  (K.  533),  (1788).     Finale  (K.  494),  (1786). 
THEMATIC  SCHEME. 

Allgro 


•jzizcn: 


A-?— yfa ,—  — 

Bpflfczfr 


I ^^ 


In  three  movements. 


FIRST  MOVEMENT— "  ALLEGRO,"  IN  F  MAJOR.     SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

(b)  First  Subject  in  Tonic. 

ic)  Bridge-p  assage      or 
Transition. 

Second    Subject   in    C 
major  (Dominant), 
(d)    f§t   1.   413-66L1 
(e)   t§   2.  662-891.    J 

(f)    Codetta. 
Double  bar  and  repeat. 

1-321 
324-411 

413-891 
89-102 

(g)  Bars  1024-1452 

(h)  First  Subject  in  Tonic 
(first  8  bars  only), 
(j)    Bridge-passage     or 
Transition     (length- 
ened). 
Second    Subject    in 
Tonic. 
[First  §.  1683-1931. 
(k)   J  Second  §.  1932-2261. 
L(  greatly       length- 
ened) . 
detta   in  Tonic, 
(m)  Double  bar  and  repeat. 

1454-1532 

1534-1681 
1683-2261 

226-239 

SECOND  MOVEMENT—  "  ANDANTE,"  IN  B  FLAT  MAJOR  (KEY  OF  THE  SUBDOMINANT). 

(a)  SONATA  FORM. 


(b)         EXPOSITION. 

Bars. 

FREE  FANTASIA. 

RECAPITULATION. 

Bars. 

First  Subject  in  Tonic. 

(c)  Transition. 
Second    Subject    in    F 
major  (Dominant), 
(d)  J§  1.  23-331.) 
(e)   \§  2.   333-46.  J 

Double  bar  and  repeat. 

1-18 
19-22 
23-46 

(f)  Bars  47-72. 

(g)  First  Subject  in  Tonic 
(incomplete). 
Transition, 
(h)  Second     Subject    in 
Tonic. 
f§  1.  91-1011.     \ 
t§  2.    1013-1141.  J 
(j)    Coda. 
Double  bar  and  repeat 

73-86 
87-90 

91-1141 
114-122 

*  Theeo  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which-  occur  in  the  subsequent 
text. 

t  See  Sonata  XIV,  first  movement   (a),  paragraph   ii,  page  105. 
J  The  symbol  §   is  here  employed  to  denote   a  section  of  a  subject. 

9 


114  MOZART'S  PIANOFORTE  SONATAS. 

THIRD  MOVEMENT— "  RONDO  "  ALLEGRETTO,  IN  F  MAJOR,     (a)  OLDER  RONDO 

FORM. 

Bars. 


(b)  Principal  Subject  (first  entry).     Ternary  Form         ...        1—50 

f  Part  i,  Melody  in  F  major  1-12 

I  Part  ii.  Founded  on  figures  in  first  melody    ...         ...         ...       13-38 

I  Part  iii,  Repetition  of  Part  i,  slightly  varied 39-50 

(c)  Episode  I ...    , ...         ...         ...      51-82 

I  First  section.  Melody  in  D  minor           51-67^ 
Link      ...                67 
Second  section,  Melody  in  B  flat  major            ...         ...         ...       68-793' 
Modulating  and  ending  on  a  half-cadence  in  F  minor. 
Link,  leading  to           79-3-82 

Principal  Subject  (second  entry),  first  twelve  bars  only        83—94 

(d)  Episode  II,  "  Minor e,"  in  F  minor  (Tonic  minor)  Ternary  Form 95-116 

,Part  i  in  F  minor  and  A  flat  major 95-102  \ 

Double  bar  and  repeat. 
Part  ii,  Passage  modulating  and  ending  on  half-cadence  in  F  I 

minor 103-108  [ 

Part  iii,  Repetition  of  Part  i  in  the  key  of  F  minor  ...     109-116  I 

Double  bar  and  repeat. 

*Link  (Maggiore)  leading  to          116a— 119 

Principal  Subject  (third  entry),  partial  reappearance  only  ...         ...     120—151 

ila)  Repetition  of  Part  i,  varied  slightly     120-1313  ^ 
Link  of  five  notes 1313-4 
(b)  Repetition  of  portion  of  Part  ii  (bars  19-30)    ...         ...     132-151*  I 
transposed  into  the  key  of  the  Tonic,  and  merging  into 
a  connecting  passage  leading  to  the                                                   J 
(f)   Coda        ...                                            152-187 


FIRST  MOVEMENT. 

(a)  It  is  rather  an  interesting  fact  that  Mozart  wrote  the  Finale  of  this 
sonata  about  eighteen  months  before  the  first  two*  movements.    The  latter 
were  composed  as  an  independent  work,  and  with  no  idea  of  their  being 
thus  incorporated  with  the  earlier  written  movement.     The  Rondo  was 
written  in  1786,  and  was  one  of  various  short  pianoforte  pieces  composed 
for   particular  occasions   and   persons    during    Mozart's   Vienna   period. 
Otto  Jahn  remarks  that  "it  has  been  arbitrarily  but  not  altogether  unsuit- 
ably combined  into  one  sonata  with  two  other  movements,  composed  on 
January  8,  1788." 

These  movements  are  not  included  amongst  the  sonatas,  in  Kochel's 
Catalogue,  but  are  entered  simply  as  "  Allegro  and  Andante  fur  Klavier,' 
No.  533,  whilst  the  Rondo  is  entered  as  "Rondo  fur  Klavier,"  No.  485. 

(b)  This  subject  is  of  somewhat  unusual  length  for  Mozart  and,  with 
one  exception  (viz.,  in  the  Finale  of  Sonata  XII,  where  the  first  subject  is 


SONATA  NO.   XV.  n^ 

extended  to  thirty-five  bars)  is  the  longest  one  to  be  met  with  in  move- 
ments in  this  form  throughout  his  pianoforte  sonatas.  The  length  is 
caused  by  constant  repetitions  wherein  inversion  of  the  parts  is  a  promin- 
ent feature.  The  construction  of  the  subject,  and  its  variety  of  treatment, 
should  be  carefully  studied.  Points  to  be  noted  are: 

The  tonic  pedal,  bars  4-8 ;  the  transference  of  the  melody  to  the  bass 
in  bar  8,  and  the  consequent  inversion  of  the  parts  when  the  accompani- 
ment enters  in  bar  12;  the  tonal  sequence  (bars  16-17)  which  forms  a  new 
continuation  to  the  phrase  which  starts  in  13  (compare  with  bars  5-8),  but 
which  makes  a  fresh  start  in  15,  with  the  parts  re-inverted;  and  the  inter- 
rupted cadence,  bars  21-22,  which  leads  to  a  cadential  repetition  of  the 
preceding  passage.  This  repetition  commences  with  the  parts  again 
.inverted,  and  culminates  in  the  very  interesting  imitational  passage 
founded  on  the  opening  motive,  bars  27-32,  with  which  the  subject  closes. 

(c)  The  transition  is  founded  entirely  on  the  opening  bars  of  the  first 
•subject.  Although  this  subject  ends  on  the  first  beat  of  bar  32,  and  the 
transition  does  not  commence  till  the  fourth  beat,  the  imitational  passage, 
which  starts  in  bar  27,  continues  unbroken  till  bar  37,  the  bass  taking  up 
the  imitational  figures  during  the  break.  The  remainder  of  the  transition 
is  worked  on  a  portion — four  notes  only — of  the  opening  motive  of  the 
first  subject,  the  passage  ending  on  a  half  close  in  C  minor:  VIIt  6V.* 
Thus  we  meet  here  with  another  instance  in  which  the  key  of  the  second 
subject  is  approached  through  that  of  its  tonic  minor. t  Bar  3Q1  forms 
the  first  inversion  of  the  chromatic  supertonic  ninth  in  C  minor. 

Richter  concurs  with  the  view  that  the  first  subject  continues  to  bar 
32  (see  the  accompanying  Thematic  Scheme).  On  the  other  hand,  Dr. 
Fisher  considers  that  the  first  subject  ends,  and  the  transition  commences, 
in  bar  8.  Had  there  been  a  full  close  in  bar  16,  at  the  end  of  the  repeti- 
tion of  the  opening  melody,  he  would  have  looked  upon  these  bars  as  a 
part  of  the  first  subject.  As  it  is,  however,  he  considers  that  the  whole 
passage,  from  bar  84  to  bar  41,  must  be  regarded  as  the  bridge  passage. 
He  does  not  consider  that  the  cadence,  in  bar  32  (though  he  marks  it  as 
the  end  of  the  second  sentence)  causes  any  break  in  the  passage. 

In  cases  such  as  this,  where  it  is  possible  that  more  than  one  opinion  may  be 
held,  a  comparison  between  the  corresponding  portions  of  the  exposition  and  the 
recapitulation  is  very  often  a  guide  in  helping  to  a  decision.  In  this  instance,  how- 

*  Richter  calls  this  cadence  a  half-cadence  in  G  major,  and  that  at  the  end  of 
the  second  transition  (bars  167-168)  a  half-cadence  in  C  major. 

f  See  first  movements,  Sonatas  VIII  and  XII. 


Il6  MOZART'S  PIANOFORTE  SONATAS. 

ever,  the  first  portion  of  the  exposition  is  so  curtailed  on  its  repetition  in  the  re- 
capitulation— i.e.,  from  forty-one  bars  in  length  to  twenty-three — that  such  com- 
parison throws  no  light  upon  the  point  in  question. 

(d)  The  first  of  the  two  sections  into  which  the  second  subject 
divides,  is  worked  entirely  on  its  own  first  phrase  (bars  4I3~452).  The 
responsive  phrase  commences  a  tone  higher,  in  the  key  of  D  minor,  with 
the  same  opening  motive,  accompanied  in  the  bass  by  a  figure  of  which 
rather  prominent  use  is  made  during  the  movement.  For  not  only  is  the 
figure  itself  variously  worked  both  above  and  below  the  subject,  but  the 
•principal  motive  of  the  second  §  of  this  subject  is  also  founded  upon  it. 
After  closing  with  a  perfect  cadence  in  its  original  key  of  C  major, 
the  foregoing  sentence  is  repeated  varied,  commencing  with  the  melody 
transferred  to  the  bass.  This  is  answered,  in  the  treble,  a  half -bar  later 
by  imitation  at  the  octave,  whilst,  in  the  second  phrase,  the  triplet  figures 
in  the  bass  of  bar  54,  are  answered  in  contrary  motion  in  the  treble  of  55. 
The  remainder  of  the  section  consists  principally  of  variations  on  the 
same  motive,  taken  alternately  in  the  treble  and  bass.  It  ends  on  an  in- 
verted cadence  in  G  major.  The  bass,  in  bars  574-591,  should  be  com- 
pared with  that  in  bars  454~471,  and  its  inverse  movement  noted. 

(e)  The  second  section  commences  with  a  new  phrase*  announced  in 
the  bass  alone,  ending,  bar  /o1,  on  the  note  G,  which  note  is  prolonged, 
and  forms  a  pedal.  Over  this  pedal  the  previous  phrase,  transferred  to 
the  treble,  is  repeated  and  much  lengthened,  and  with  imitation  between 
the  upper  parts.  It  starts  in  bar  73,  in  which  the  tenor  is  a  free  imita- 
tion, by  inverse  movement,  of  the  treble  in  72,  and  then  continues  for  two 
further  bars  in  close  imitation  of  the  same  voice,  at  the  interval  of  a 
fourth  below.  The  phrase  ends,  bar  781,  on  a  perfect  cadence  in  D  minor. 
Bars  78-821,  modulating  back  to  the  key  of  C  major,  give  the  impression 
of  being  a  cadential  repetition — though  a  very  modified  one — of  the  latter 
part  of  the  preceding  passage,  which  is  further  prolonged  through  the  use 
of  the  interrupted  cadence  (bars  81-82).  The  latter  leads  to  still  further 
cadential  extensions  which  continue  to  bar  8Q1,  where  the  second  subject 
finally  closes  on  a  perfect  cadence  in  C  major. 

The  alteration  from  the  chromatic  supertonic  harmony,  in  bars  82 
and  84,  to  that  of  the  chord  of  the  German  sixth,  in  86,  with  the  corres- 
ponding and  effective  modification  of  the  scale  passage,  should  be  care- 
fully noted.  Also  the  unusual  method  of  writing  a  dot,  in  the  place  of  a 
tied  note,  on  the  first  beat  of  the  bar,  in  the  syncopated  passage, 
bars  74-75. 

*  The  opening  figure  is,  however,  founded  on  that  in  the  bass,  bars  45M7*. 


SONATA  NO.   XV.  1 17 

In  his  book,  "Die  Grundziige  der  Musikalischen  Formen,"  Richter 
analyses  the  movement,  not  only  as  regards  its  "form,"  but  with  special 
reference  to  its  subdivision  into  sentences  and  phrases.  We  have  already 
drawn  attention  to  two  details  of  key  in  which  our  views  do  not  concur, 
and  we  shall  now  discuss  the  question  as  to  the  phrasing  of  a  passage 
upon  which  again  our  views  differ. 

In  the  second  section  of  the  second  subject  we  have  marked  the  per- 
fect cadence  in  D  minor,  bars  77-78,  as  forming  the  dividing  point  between 
two  phrases.  Richter,  however,  considers  that  the  second  phrase  ends 
earlier,  viz.,  in  and  with  bar  75,  and  that  the  third  extends  from  bar  j6  to 
bar  81.  Whether  he  looks  upon  the  phrase  as  closing  with  the  end  of 
bar  75,  as  his  text  would  seem  to  imply,  and  as  is  actually  marked  on 
his  accompanying  excerpt  from  the  music,  or  whether  he  considers  it  to 
take  place  on  the  first  beat  of  the  following  bar,  we  are  equally  unable 
to  follow  the  reasoning  of  his  analysis.  We  have  marked  bar  78  as  the 
close  of  the  second  phrase  for  the  twofold  reason,  viz.,  that  (i)  there  is 
a  definite  perfect  cadence  at  that  point,  and  (ii)  this  cadence  is  immedi- 
ately followed  by  what  (as  above  mentioned)  gives  an  undoubted  im- 
pression of  forming  a  cadential  repetition — free  and  extended  though  it 
be — of  the  latter  part  of  the  preceding  passage.  If,  however,  the  phrase 
is  considered  to  close  instead  with  the  end  of  bar  75,  we  shall  find,  on 
the  one  hand,  that  the  division  between  the  phrases  takes  place  between 
the  last  two  notes  of  the  imitational  passage,  the  bass,  at  this  point,  taking 
up  the  imitation.  And,  on  the  other  hand,  by  marking  the  new  phrase, 
in  this  instance,  as  commencing  on  the  strong  accent,  an  instance  in  which 
there  is  no  question  of  overlapping  of  the  -phrases,  it  is  being  considered 
to  start  on  a  chord  whose  bass  note  is  the  final  note  of  the  preceding 
passage  of  imitation. 

And  even  if  we  consider  that  the  phrase  continues  the  one  beat 
further  and  ends  on  the  accent,  in  bar  76,  thus  obviating  the  above  objec- 
tions, we  still  do  not  feel  we  have  reached  its  close.  For  the  whole  of 
bar  76  is  written  on  the  second  inversion  of  the  chord  of  D  minor,  used 
cadentially,  and  leaves  the  ear  waiting  for  the  following  perfect  cadence 
in  this  key,  of  which  this  bar  forms  the  antepenultimate  chord. 

(f)  The  triplet  figures  in  the  codetta  are  derived  from  the  first  sec- 
tion of  the  second  subject.  The  whole  of  the  passage  (bars  89-102)  is 
usually  looked  upon  as  forming  the  codetta.  Dr.  Fisher,  however,  con- 
siders that  bars  89-95  form  a  third  section  of  the  second  subject,  and 
that  the  codetta  only  commences  in  bar  95.  For  the  reasons  given  below 
we  prefer  the  former  analysis  : 


n8  MOZART'S  PIANOFORTE  SONATAS. 

(i)  On  account  of  the  shake  in  bar  88.  For,  as  we  mentioned  in  an 
earlier  sonata,*  a  shake  is  so  often  incidental  to  the  final  cadence  of  the 
second  subject,  that  the  appearance  of  that  ornament  at  a  -possible  point 
is  frequently  looked  upon  as  the  determining  factor  in  cases  which  might 
otherwise  be  doubtful. 

(ii)  A  comparison  between  the  passage  which  precedes  bar  95,  and 
that  which  follows,  shows  that  bars  g62-g^  and  gS2-ggl  are  but  repeti- 
tions of  gi2-g21  and  g42-g$l.  In  all  four  instances,  not  only  the  succes- 
sion of  the  chords,  but  'the  bass  also,  is  alike,  and,  in  the  treble,  the  only 
difference  is  in  the  inverse  movement  of  the  individual  broken  chords. 

It  seems  to  us,  therefore,  the  simpler  and  more  consistent  analysis 
to  look  upon  bars  89-102  as  forming  one  passage,  consisting  entirely  of 
cadential  repetitions,  and  that  the  division  in  bar  95  is  of  a  somewhat 
arbitrary  character. 

(g)  The  free  fantasia  is  worked  on  figures  drawn  from  both  sub- 
jects, and  from  the  codetta.  It  commences  in  the  key  of  C  minor  with 
the  opening  motive  of  the  first  subject  in  combination  with  triplet  figures 
taken  both  from  the  codetta  and  the  second  subject.  The  first  sentence 
comes  to  a  close  in  the  key  of  G  minor,  and  is  then  immediately  repeated, 
inverted  and  overlapping,  and  modulating,  ending  this  time  on  a  half- 
cadence  in  D  minor. 

In  the  latter  key,  in  bar  125,  an  interesting  passage  commences, 
worked  on  the  opening  motive  of  the  second  subject,  accompanied  by  an 
imitation  of  the  figure  which,  in  the  exposition,  is  not  announced  until 
the  second  phrase  of  this  subject.  This  figure  is  worked  above  and  below 
the  motive,  the  parts  being  alternately  inverted  and  re-inverted  at  each 
succeeding  repetition.  And,  as  each  of  these  repetitions  occurs  respec- 
tively in  the  keys  of  D  minor,  G  minor,  C  major  and  F  major,  the  whole 
passage  forms  a  modulating  sequence.  Following  on  this,  the  motive  is 
taken  in  both  parts  together,  the  bass  imitating  the  treble  at  a  half -bar's 
distance,  first  at  the  interval  of  the  fifth  below  (in  the  key  of  B  flat  major) 
and  afterwards,  modulating  to  the  key  of  F  major,  at  the  interval  of  the 
octave.  In  bar  137,  the  motive  is  taken  in  both  parts  simultaneously,  by 
contrary  motion. 

The  section  ends  with  a  reproduction  of  the  final  bars  of  the 
codetta,  taken  on  the  dominant  seventh  of  F  major. 

(h)  Only  the  first  eight  bars  of  the  first  subject  are  heard  in  the 
recapitulation. 

*  No.  83  in  A  minor,  second  movement  (e),  page  50. 


SONATA  NO.  XV.  Iig 

(j)  The  transition,  starting  with  the  opening  motive  of  the  first  sub- 
ject, taken  in  the  bass  instead  of,  as  originally,  in  the  treble,  reappears 
lengthened  by  the  interpolation  of  a  freely  modulating  sequential  pas- 
sage. This  is  worked  on  the  second  four-quaver  figure  from  the  above 
motive. 

The  keys  passed  through  during  the  transition  are:  F  major,  D  flat 
major,  B  flat  minor,  F  minor,  D  flat  major,  B  flat  minor,  A  flat  major  and 
F  minor,  in  the  last  of  which  keys  the  passage  ends  on  a  half -cadence : 

vi,,6,v* 

In  bar  160,  the  four-quaver  figure  is  transferred  from  the  bass  to  the 
treble  where,  in  164,  it  reverts  from  the  second,  to  the  opening  four-quaver 
figure  of  the  same  motive.  From  this  point  to  the  end  of  the  transition  is 
an  exact  transposition  of  the  corresponding  portion  of  the  original  pas- 
sage into  the  key  of  F  minor. 

(k)  The  second  section  of  the  second  subject  reappears  much  modi- 
fied and  lengthened.  The  first  alteration  occurs  in  bars  200-201,  where 
the  opening  sentence  comes  to  a  full  close  after  eight  bars.  Particular 
attention  should  be  given  to  the  most  interesting  passage  which  immedi- 
ately follows.  Here,  the  opening  bars  of  the  first  subject  and  of  the 
second  section  of  the  second  subject,  are  taken  simultaneously,  the  latter 
forming  a  counter-subject  to  the  former. 

Of  the  bass-part  of  this  passage  Banister  remarks  that  it  "makes 
an  admirable  counter-subject,  there  is  no  effort  to  fit  it  in,  as  is  so  often 
the  case  in  second-rate  works  :  no  necessity  for  explanatory  justifica- 
tion." And,  of  various  passages  of  imitation  in  the  movement,  he  goes 
on  to  remark  :  "  In  all  these  cases  observe  that  the  imitation  overlaps  the 
part  imitated;  which,  indeed,  is  of  the  very  essence  of  vivid  imitation. 
...  In  these  quoted  passages,  antecedent  and  consequent  are  brought 
together  contrapuntally,  after  the  manner  of  a  strettoT 

(1)  This  passage  is  a  transposition  of  the  original  codetta  into  the 
key  of  the  .tonic. 

(m)  See  Sonata  II,  first  movement  (1),  page  9. 

SECOND   MOVEMENT. 

(a)  See  Sonata  I,  second  movement  (a)  and  (f),  page  4. 

(b)  More  than  one  view  is  held  with  regard  to  the  construction  of  the 
exposition  in  this  movement.     The  analysis  given  in  the  accompanying 
Thematic  Scheme  is  in  accordance  with  Dr;  Hadow's  view.     Others,  how- 

*•  See  footnote  *  to  (c). 


120  MOZART'S  PIANOFORTE  SONATAS. 

ever,  consider  that  the  first  subject  ends  in  bar  14,  the  transition,  in  bar  33, 
and  that  the  second  subject,  consisting  of  one  section  only  (the  passage 
which  we  have  marked  as  the  second  section}  begins  only  in  bar  33,  and 
lasts,  until  the  double  bar. 

The  view  that  the  first  subject  ends  on  the  inverted  cadence  in  bar  14, 
seems  to  us  unsatisfactory,  as  the  cadence  at  that  point  sounds  very  in- 
conclusive. It  may  be  added  also,  that  Dr.  Hadow  looks  upon  the  first 
subject  as  a  ten-bar  theme*  ending  first,  on  the  cadence  in  the  dominant 
key,  and  then  "repeated  bar  for  bar  till  it  comes  to  the  cadence  where  it 
breaks  off  into  four  bars  of  transitional  episode." 

It  is  interesting  to  note  that,  according  to  either  of  these  two  ana- 
lyses, the  recapitulation  of  the  first  subject  ends  at  exactly  the  same  point, 
viz.,  at  the  repetition  of  the  cadence  (which  here  reappears  with  inversion 
of  the  parts)  to  which  we  referred  above  as  sounding  inconclusive.  This, 
according  to  Dr.  Hadow's  view,  is,  of  course,  only  a  -partial  re-entry  of 
the  subject.  Whilst  feeling  quite  clear  as  to  the  fact  that  the  first  sub- 
ject does  not  end  in  bar  14,  that  being  the  middle  of  a  sentence,  Dr. 
Hadow  adds  that  it  is  a  "disputable  point"  and  he  does  not  think 
"  any  solution  would  altogether  escape  criticism."  He  continues  :  "  To 
make  it  the  end  of  a  paragraph  depends  on  the  belief  that  the  first  sub- 
ject must  always  end  on  a  full  close  in  the  tonic,  which,  with  Mozart,  is 
not  the  case,"  and  he  quotes  the  first  movement  of  Sonata  XVI,  where  the 
dominant  close,  though  delayed,  is  deliberately  repeated  in  the  recapitu- 
lation. f 

(c)  The    short    transition    is    sequential    in    character.     Modulating 
through  G  minor,  it  ends  on  a  half  -cadence  in  F  major. 

(d)  The  first  section  of  the  second  subject  is  founded  on  the  first 
subject.     It  starts  with  the  opening  motive  taken  in  the  bass,  accom- 
panied by  a  new  counter-subject  in  the  treble.     Note  the  series  of  chro- 
matic chords,  bars  28-30,  viz.,  F  major,  I|,9C  (with  false  notation  F#  =  Gt7) 
resolving   enharmonically   on   to   bviic,    followed   by    Jjiv0^.     The    last 


chord  resolves  on  to  the  first  inversion  of  the  chord  of  F  major  (the  tonic 
chord  of  the  passage). 

(e)  The  second  section  of  this  subject  consists  of  a  new  theme,  which 
starts  over  a  tonic  pedal.  +    The  sentence  is  prolonged  by  cadential  repeti- 

*  The  second  phrase  of  this  theme  is  lengthened  from  four,  to  six,  bars  by  the 
free  sequential  imitation  of  bars  43-62?  in  bars  63-82. 

t  See  Sonata  XVI,  first  movement,  a  and  b,  page  126. 
I  Note  that  this  pedal  commences  with  the  last  chord  of  the  previous  section. 


SONATA  NO.  XV.  121 

tions  in  both  phrases,  and  incidentally  touches  the  keys  of  F  minor  and 
A  flat  major.  The  chords  of  the  Neapolitan  sixth,  in  bar  40,  and  of 
F  major  Il'^b,  bar  44,  should  be  noted. 

(f)  From  bar  47  to  bar  59,  this  section  is  worked  on  the  opening 
motive  of  the  first  subject  accompanied  by  passages  of  semiquaver  figures 
founded  on  those  in  the  second  section  of  the  second  subject. 

It  commences  with  the  motive  taken  in  the  bass,  in  similar  manner 
to  the  opening  bars  of  the  second  subject.  In  bar  51,  the  parts  are  in- 
verted, and  re-inverted  and  again  inverted  in  bars  55,  and  57,  respec- 
tively. The  passage  starts  in  the  key  of  F  major,  which,  however,  is 
immediately  quitted,  and  it  modulates  through  D  minor,  B  flat  major, 
G  minor,  C  minor,  D  minor  and  G  minor,  and  ends  on  an  inverted  cadence 
in  A  major.  The  last  chord  of  this  cadence  is,  however,  quitted  as  the 
dominant  of  D  minor,  in  which  key  the  second  portion  of  the  free  fan- 
tasia commences.* 

This  is  a  very  interesting  passage  of  sequential  character  worked 
on  the  opening  motive  of  the  second  -phrase  of  the  first  subject,  with  free 
imitation  between  the  parts.  It  starts  in  D  minor  and,  modulating  freely, 
touches  the  keys  of  G  minor,  B  flat  major  (dominant  seventh  only), 
C  minor,  E  flat  major  (dominant  seventh  only),  F  major  (dominant 
seventh  only),  and  G  minor,  ending  on  the  dominant  seventh  of  B  flat 
major,  to  lead  into  the  recapitulation  in  that  key. 

(g)  There  are  two  special  features  to  be  noted  in  bars  823-86,  which 
form  the  last  phrase  of  the  curtailed  re-entry  of  the  first  subject  (see  b). 

(i)  They  are  an  inversion  of  the  original  phrase  (bars  IO3-I42)  with 
which  they  should  be  compared;  and 

(ii)  They  are  another  instance  in  which  both  subjects  are  brought 
together  in  the  recapitulation,  the  accompaniment  of  triplets  of  semi- 
quavers (bar  84)  being  derived  from  figures  in  the  second  section  of  the 
second  subject* 

(h)  The  opening  bars  of  this  subject  reappear  inverted. 

(j)  The  short  coda  consists  of  a  series  of  cadential  repetitions.  It 
commences  with  a  three-bar  phrase  ending  on  an  interrupted  cadence. 
The  following  phrase,  which  is  the  final  one  of  the  movement,  is  also  a 
three-bar  phrase  lengthened  to  five  by  cadential  repetitions.  The  en- 
hanced effect  of  the  interrupted  cadence,  bars  116-117,  owing  to  the 
transient  modulation  to  G  minor,  and  the  momentary  suggestions  of  the 
keys  of  E  flat  major,  and  C  minor  (117-118)  should  be  noted. 

*    See   Sonata  III,   third   movement,    footnote,    page   20. 

f  See  the  recapitulation  of  the  second  subject  in  the  first  movement  of  this 
sonata  (k). 


122  MOZART'S   PIANOFORTE   SONATAS. 


THIRD   MOVEMENT. 

(a)  As  in  the  case  of  most  of  the  previous  Rondos  with  which  we 
have  already  met  in  these  sonatas,  this  movement  can  be  viewed  from 
the  two  standpoints  mentioned  in  the  earlier  Rondos,  viz.,  from  that  of 
the  older,  and  from  that  of  the  newer — the  Rondo-Sonata,  type.     And 
even  where  opinions  agree  as  to  the  type  of   form,  we  find  occasional 
differences  as  to  the  analysis  of  certain  portions,  and   details,  of   the 
movement. 

The  view  which  seems  to  be  the  most  generally  accepted  is  that  the 
movement  is  in  the  older  Rondo  form,  and  that  the  principal  subject  lasts 
for  the  first  fifty  bars.  According  to  this  view,  therefore,  the  subject  is 
in.  regular  ternary  form.  Owing  probably,  however,  to  its  great 
length,  and,  in  the  case  of  its  third  entry,  also  to  the  fact  that  the  fine 
coda  is  principally  founded  on  it,  there  is  only  a  partial  reappearance 
of  the  principal  subject  at  each  of  its  subsequent  entries  (see  Thematic 
Scheme). 

A  second  view,  whilst  agreeing  with  the  previous  one  as  to  the  move- 
ment being  in  the  older  Rondo  form,  differs  from  it  as  to  the  length  of 
the  principal  subject,  which  it  considers  as  ending  in  bar  12.  According 
to  this  view,  bars  13-38,  which,  in  the  above  analysis,  are  marked  as  Part  ii 
of  the  principal  subject,  form  a  first  episode,  and  bars  39-50  a  complete 
second  entry  of  the  principal  subject. 

Still  another  opinion  so  far  agrees  with  the  latter  of  the  above,  as 
to  consider  that  the  principal  subject  is  only  twelve  bars  long-,  and  that 
bars  39-50  form  a  second  complete  entry  of  it,  but,  according  to  this  view, 
the  movement  is  in  the  Rondo-Sonata  form,  the  first  fifty  bars  forming  the 
exposition  thus:  first  subject  to  bar  12;  bridge-passage  to  22;  second 
subject  to  34;  bridge-passage  to  38;  second  entry  of  first  subject  to  50. 

(b)  The  opening  twelve-bar  sentence  (analysed  on  the  accompanying 
Thematic  Scheme  as  forming  Part  i  only  of  the  principal  subject)  divides 
into  two  six-bar  phrases.     The  first  ends  with  momentary  modulation  to 
the  key  of  the  dominant,*  the  second  with  a  full  close  in  the  tonic.    Part  ii 
opens  in  the  key  of  the  dominant  with  a  melody  founded  on  that  in 
Part  i.     This  section  contains  four  phrases  (the  fourth  being  a  cadential 
repetition  of  the  third)  followed  by  a  codetta  of  four  bars,  after  which 
a  short  link  leads  into  the  repetition  of  Part  i  =  Part  iii. 

(c)  The  first  episode,  though  it  is  not  written  in  what  is  generally 


*  See  Sonata  III,  third  movement,  footnote  *  to  (k),  page  20. 


SONATA  NO.   XV.  123 

understood  by  the  term  binary  form,  divides  into  two  distinct  sections. 
It  opens  with  a  vigorous  phrase  in  D  minor,  which  is  in  great  contrast  to 
the  character  of  the  principal  subject.  Bars  51-52  are  repeated  sequenti- 
ally in  53-54.  The  responsive  phrase,  however,  returns  to  the  more  quiet 
figures  of  the  principal  subject,  on  which  it  is  founded.  It  ends  on  a 
half-cadence,  D  minor  VIG.6V,  after  which  the  whole  of  the  preceding 
eight  bars  are  repeated,  closing,  the  second  time,  on  a  full  cadence  in  the 
same  key. 

It  should  be  noted  that  the  series  of  turns  heard  during  the  final 
cadence,  forms  a  melodic  sequence,  modulating  to  B  flat  major,  in  which 
key  the  second  portion  of  the  episode  commences. 

This  section  contains  another  fresh  melody  which — to  quote  a  remark 
of  Banister's — forms  a  "  quiet  appendix  "  to  the  episode.  It  passes  inci- 
dentally through  the  key  of  G  minor,  and  ends  on  a  half-cadence  VI G.  6V, 
in  F  minor.  A  short  link  follows  leading  to  the  second  entry  of  the 
principal  subject,  of  which,  as  mentioned  above,  only  a  portion,  i.e.,  Part  i 
is  here  heard. 

(d)  This  episode  is  in  a  new  key  and  is  a  perfectly  regular  example 
of  simple  ternary  form.* 

The  first  phrase  of  Part  i  forms  a  descending  sequence,  in  which 
the  upper  parts  are  written  in  double  counterpoint,  and  the  alto  imitates 
the  treble  at  the  interval  of  a  fifth  below.  The  responsive  phrase  modu- 
lates to  the  relative  major,  closing  on  a  perfect  cadence  -in  this  key. 
Part  ii  commences  with  some  slight  development  of  the  opening  motive, 
treated  sequentially  in  the  keys  of  B  flat  minor  and  A  flat  major,  after 
v;hich  Part  i  is  repeated — forming  Part  iii— with  the  first  phrase  in- 
verted, and  the  second  modified,  so  as  to  end  with  a  full  cadence  in  F 
minor.  Note  that  by  the  inversion  of  the  above  phrase  the  imitation  now 
takes  place  between  the  alto  and  bass,  and  that  the  interval  between  the 
imitating  voices  is  therefore  also  inverted,  and  becomes  that  of  a  fourth 
above.  A  short  link  in  the  major  mode  leads  to  the  third  entry  of  the 
principal  subject. 

(e)  This  passage  was  heard  originally  near  the  commencement  of 
the  movement  in  the  key  of  the  dominant,  and  it  is  its  recurrence,  at  this 
particular  point  in  the  key  of  the  tonic — a  feature  characteristic  of  the 
Sonata-Rondo — which  inclines  some  theorists  to  analyse  the  movement  on 
the  basis  that  it  is  an  irregular  example  of  the  newer  type.t   Viewed,  how- 


*  See  Sonata  IV,  second  movement  (c),  page  24. 

t  Irregular,  because  it  contains  two  episodes  in  place  of  one,  and  also  an  extra 
entry  of  the  principal  subject  between  the  exposition  and  the  recapitulation. 


124  MOZART'S  PIANOFORTE   SONATAS. 

ever,  from  the  standpoint  of  the  older  Rondo  form,  with  a  principal  sub- 
ject of  fifty  bars,  the  construction  of  the  movement  shows  itself  as  quite 
regular.  And,  moreover,  by  this  means  we  are  enabled  far  more  easily 
to  obtain  not  only  a  grasp  of  the  movement  as  a  whole,  but  of  the  details 
and  arrangement  of  its  contents. 

For  these  reasons,  therefore,  an  analysis  of  it  on  these  lines  appeals 
to  us  as  the  better,  because  assuredly  it  is  the  clearer,  and  simpler  of  the 
two  methods. 

Note  the  chords  of  F  major  II7C  (bar  143),  and  t>VIG.6(bar  151). 

(f)  The  Coda  commences  with  a  fine  passage  extending  over  several 
bars,  worked  contrapuntally  on  the  opening  motive  of  the  principal  sub- 
ject. In  this  passage,  the  motive,  freely  imitated^  is  taken  successively  in 
each  of  the  voices.  After  the  repetition  of  a  few  bars  from  the  second 
portion  of  the  principal  subject  (bars  30,  etc.),  transposed  into  the  key 
of  the  tonic,  the  movement  closes  with  yet  another  recurrence  of  its 
opening  bars,  being  this  time  a  shortened  version,  to  which  a  new  accom- 
paniment in  counterpoint  is  added. 

Dr.  Fisher  does  not  consider  the  Coda  to  commence  till  bar  170.  He 
takes  the  view  that  the  movement  is  in  Sonata-Rondo  form,  and  that  the 
passage,  bars  136-170,*  form  a  much  extended  recapitulation  of  the 
second  subject. 


*  Owing  to  the  difference  of  method  in  his  analysis,  in  numbering  the  bar  con- 
taining the  second  ending  to  Episode  II,  these  bars  are  numbered  respectively  137 
and  171. 


SONATA  No.  XVI,  IN  C  MAJOR  (K.  545),  (1788). 
THEMATIC  SCHEME. 


Allegro 


i 

-£             p— 

y/^-  

., 

1               * 

> 

^Sfo^'^^^rJ-rJ'l 

-f—  *—,—»'—  j—^u^—^-i—  {_•_,'_  «=ps  —  I--S-I 

In  three  movements. 

-«-                -•- 

(a) 

(c) 
(d) 

(b) 

# 

FIRST  MovEMEf 
EXPOSITION. 

<T—  "  ALI 
Bars. 

-EGRO,"  IN  C  M^ 
FREE   FANTASIA. 

UOR.     SONATA  FORM. 
RECAPITULATION. 

Bars. 

First  Subject  in  Tonic. 

Transition. 
Second    Subject    in    G 
major  (Dominant). 
Codetta. 
Double  bar  and  repeat. 

First  Subject. 

No    Transition,    1-bar 
Prelude. 
Second  Subject. 
Codetta. 
Double  bar  and  repeat. 

1-4 
5-13 

14-261 

262-28 

(e)  Bars  29-41. 

(f)    First     Subject     in     F 
major  (Subdominant). 
(g)  Transition, 
(h)  Second    Subject     in 
Tonic. 
Codetta, 
(j)    Double  bar  and  repeat. 

42-45 
46-58 

59-711 
712-73 

42-57 

58 
59-711 
712-73 

ALT 

1-12 

13 

14-261 
262-28 

ERNATIVE  SCHE 
Bars  29-41. 

-ME. 

First  Subject  in  F  ma- 
j  o  r       (Subdominant), 
modulating  to  Tonic. 
No    Transition,     1-bar 
Prelude. 
Second  Subject. 
Codetta. 
Double  bar  and  repeat. 

SECOND  MOVEMENT— (a)  "ANDANTE,"  IN  G  MAJOR, 

(b)  EPISODICAL  FORM. 


(b)  KEY  OF  THE  DOMINANT. 


(c)         PART  I. 

Bars. 

PART  II. 

Bars. 

PART  III. 

Bars. 

Part  i: 
A.       Sixteen-bar  Sen- 

(d) Episode. 

(e)  Repetition         o  f 

tence  in  Tonic 
'(i)  8   bars   ending' 

1-16 

Eight-bar      Sen- 

first  sentence  of 
PART  I. 

49-641 

o  n       half-ca- 

tence in  G  minor 

dence  1—8. 
(ii)  Variation    o  f 

and  B  flat  major. 
Eight-bar      Sen- 

33-40 

(f)    Coda. 

64-1-74 

the     above    8 

tence  in  C  minor 

bars,     ending 

and  G  minor. 

41-48 

on      full      ca- 

dence 9-16.     J 

Double   bar   and 

repeat. 

3  or     Eight-bar  Sen- 

BA2     tence     in     D 

major      (Dom- 

inant). 

17-24 

?    Repetition    of    se- 

cond   8    bars    of 

Part  i,  in  Tonic. 

25-32 

Double    bar   and 

repeat. 

-*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent  text. 


126 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT— (a)  RONDO,*  "ALLEGRETTO  GRAZIOSO,"  IN  C  MAJOR 

(_Bars. 

(b)  Principal  Subject    (first   entry) 

Eight-bar  sentence  in  Tonic. 

Double  bar  and  repeat. 

(c)  Episode  I,  in  G-  major   (Dominant) 

Link    ...         ...         ...         .. 

Principal  Subject  (second  entry)    ...         ... 

(d)  Episode  II,  in  A  minor  (Relative  minor) 

Link 

Principal  Subject  (third  entry) 

(e)  Coda        


To  81 


82-161 
162-201 
202-281 
282-481 
482-51 
522-601 
602-73 


*  This  Rondo,  transposed  into  the  key  of  F  major,  has  been   incorporated    as  Finale   into   a  two-movement 
sonata  in  the  above  key  (see  Sonata  XIX). 

FIRST  MOVEMENT. 

(a  and  b)  It  is  interesting  to  take  notice  of  the  variety  of  ways  in 
which  the  exposition  of  this  little  movement  is  capable  of  being  analysed. 
We  have  met  with  several  full  analyses  of  the  whole  movement.  This  is 
probably  due  to  the  fact  that  it  is  so  frequently  quoted  by  writers,  as  an 
example  with  respect  to  various  points  on  musical  form — more  frequently, 
it  would  seem,  than  either  of  the  other  pianoforte  sonatas  by  Mozart. 

The  first  point  on  which  opinions  differ  is  as  to  the  length  of  the 
first  subject,  which  is  variously  considered  to  be  four,  eight,  and  twelve 
bars  long.  Several  writers  agree  in  regarding  it  as  ending  in  bar  4,  and 
several  more,  as  ending  in  bar  1 2,  but  so  far  we  have  met  with  one  writer 
only  who  marks  the  close  in  bar  8.f 

In  the  first  movement  of  Sonata  I  (to  which  the  student  should  re- 
.  fer)  we  have  drawn  attention  to  the  fact  that  there  is  a  difference  of 
opinion  as  to  (i)  whether  the  first  subject  must  be  at  least  eight  bars  in 
length;  and  (ii)  whether,  in  his  movements  in  sonata  form,  Mozart  invari- 
ably intended  that  some  of  the  bars  should  form  a  separate  and  distinct 
passage  of  transition.  It  should  be  noted  that  in  Ridley  Prentice's 
analysis  referred  to  above  (and  given  in  detail  in  the  footnote)  we  find 
marked  both  the  first  subject  of  eight  bars'  length,  and  the  separate 
passage  of  transition. 


t  Ridley  Prentice  analyses  the  exposition  thus  : 

Bars  1-8,  first  subject;  bars  8-12,  introduction  to  second  subject;  bars  13-26, 
second  subject  in  G  (dominant);  and  bars  26-28,  coda.  He  remarks:  "The  first 
subject  contains  two  distinct  four-bar  sentences,  the  latter  of  which  develops  into 
the  introduction  to  second  subject ;  13  is  an  extra  bar,  the  second  subject  containing 
afterwards  two  two-bar  and  two  four-bar  sections." 


SONATA  NO.   XVI.  I2/ 

On  the  other  hand,  however,  bars  5-g3  form  an  unbroken  sequence, 
and  the  impression  of  "  uninterruptedness  "  produced  by  the  continuation 
of  the  sequence  through  bar  eight  to  bar  nine  is,  to  us,  stronger  than  any 
cadential  feeling  produced  by  the  particular  form  of  the  progression  of 
dominant  to  tonic  harmony,  bars  7-8.  With  reference  to  the  other  two 
views,  viz.,  as  to  whether  there  is,  or  is  not,  a  separate  passage  of  transi- 
tion in  this  movement — the  first  subject  accordingly  ending  either  in  bar 
four,  or  bar  twelve — we  can  but  draw  the  student's  attention  to  the  fact 
that  these  two  differing  opinions  exist. 

Another  interesting  point  at  issue  upon  which  we  must  touch  before 
leaving  this  portion  of  the  exposition,  is  as  to  whether  bar  thirteen  is  (a) 
the  last  bar  of  the  transition;  or  (b)  the  initial  bar  of  the  second  subject; 
or  (c)  to  be  considered  apart  as  a  bar  to  itself,  forming  what  Goodrich 
terms,  a  "prelude  of  one  measure"  to  the  second  subject.* 

Probably  the  last  named  view  is  the  one  most  generally  held. 

For,  of  the  various  writers  who  consider  that  there  is  no  specific  pas- 
sage of  transition  in  this  movement,  several,  also,  do  not  look  upon  bar 
thirteen  as  belonging  to  the  second  subject.  Banister,  for  instance,  re- 
marks that  the  first  subject  ends  on  the  half -close  in  the  tonic,  in  bar 
twelve,  and  adds  :  "  Then,  however,  most  dexterously,  bar  thirteen  im- 
plies the  dominant  to  the  new  key,  and  the  second  subject  enters  at  bar 
fourteen'' 

Hadow's  remarks  on  this  passage  are  of  special  interest,  for  he  is 
describing  the  methods  adopted  by  the  eighteenth  century  composers  it? 
approaching  the  second  subject  as  compared  with  the  method  adopted  by 
Beethoven,  and  then  draws  attention  to  this  passage  as  being  "  a  curious 
compromise  between  the  two."  The  former,  he  writes,  "often  bring  their 
transitions  to  a  close  in  the  new  key  and  start  the  second  subject  on  th<? 
same  chord  on  which  the  episode  has  just  ended.  With  Beethoven,  it  is 
the  almost  universal  practice  that  the  transition  should  end  in  some  key 
other  than  that  of  the  second  subject,t  so  that  the  entry  of  the  subject 
gives  us  all  the  pleasure  of  a  fresh  modulation."  Of  analyses,  in  which 
bar  thirteen  is  marked  as  the  initial  bar  of  the  second  subject,  we  have  so 
far  met  with  three  instances,  viz.,  in  that  by  Ridley  Prentice,  and  in 
those  to  be  found  in  the  "Academic  Series  of  Classical  Music  for  the 
Pianoforte"  (Messrs.  G.  A.  Holmes  and  F.  J.  Karn)  and  the  Cotta  edi- 
tion of  Mozart's  sonatas. 


*  "Complete  Musical  Analysis,"  by  A.  J.  Goodrich. 

t   "  Or,  at  least,  on  some  chord  other  than  the  tonic  chord  of  the  second  sub- 
ject."    "  Sonata  Form,"  by  W.  H.  Hadow. 


128  MOZART'S  PIANOFORTE   SONATAS. 

(c)  The  remark  made  in  an  earlier  sonata  that  it  is  unusual  for  a 
second  subject  to  consist  of  one  section  only,  does  not,  of  course,  refer  to 
movements  of  a  short,  simple  description  such  as  this. 

Note  that  bars  18-21  form  a  descending  tonal  sequence. 

(d)  These  bars  are  usually  considered  to>  form  a  codetta.     However, 
in  one  analysis  of  the  movement  with  which  we  have  met,  the  second  sub- 
ject is  marked  as  continuing  to  the  double  bar.     (See  §   f,  in  the  first 
movement  of  the  previous  sonata.) 

(e)  The   short    free    fantasia    is   worked    on   the   figures    from   the 
codetta,    alternating    with    ascending    and    descending    scale    passages 
founded  on  those  heard  in  the  transition.     It  starts  with  a  repetition  of 
the  codetta  figures,  here  transposed  from  G  major  to  G  minor  and,  after 
modulating  through  the  keys  of  D  minor,  A  minor,  C  major  and  again  A 
minor,  ends  on  the  dominant  seventh  in  F  major,  the  key  of  the  sub- 
dominant,  in  which  very  unusual  key  the  recapitulation  of  the  first  sub- 
ject takes  place. 

(f)  The  re-introduction  of  the  first  subject  in  the  above  unusual  key 
renders  this  sonata  specially  notable,  as  few  examples  of  the  device  are 
to  be  met  with. 

The  origin  of  this  device  is  attributed  to  the  desire  that  the  relation- 
ship between  the  keys  of  the  two  subjects  in  the  recapitulation,  should 
correspond  to  the  relationship  existing  between  .their  original  keys  in  the 
exposition.  (In  both  parts  the  key  of  the  second  subject  is  a  fifth  higher 
than  that  of  the  first  subject.) 

In  the  "  Academic  Series  of  Classical  Music,"*  it  is  explained  as  "  a 
survival  of  an  old  custom  in  the  earlier  sonatas,  of  transposing  both 
subjects  as  in  ancient  binary  form." 

(g)  The  transition  reappears  lengthened,  the  whole  of  the  first  phrase 
being  repeated,  with  the  parts  inverted,  and  this  time  modulating  to  C 
major  (the  tonic). 

In  the  analysis  of  this  movement,  as  given  in  (b)  on  the  Thematic  Scheme,  the 
whole  of  the  above  passage  (with  the  exception  of  the  last  bar)  forms  a  portion  of 
the  first  subject.  According  to  the  latter  analysis,  therefore,  in  the  recapitulation, 
it  is  the  first  subject  itself  which,  half-way  through,  modulates  from  the  unusual  key 
of  the  subdominant  to  the  usual  one  of  the  tonic. 

(h)  The  second  subject  reappears  in  the  key  of  the  tonic. 
(j)  See  Sonata  II,  first,  movement  (1),  page  9. 

*  Referred  to  in  §   (a  and  b). 


SONATA  NO.   XVI. 


SECOND   MOVEMENT. 


129 


(a)  In  Sonata  XIV  we  called  attention  to  the  interesting  fact  that  the 
second  section  of  the  second  subject  in  the  Finale  is  founded  on  the  same 
motive  as  is  the  second  section  of  the  second  subject  in  the  first  move- 
ment.    In  this  sonata  we  meet  with  an  example  of  intimate  connection, 
this  time  existing  between  all  three  movements,  the  opening  motive  in 
each  case  (and  in  the  first  movement,  of  the  second  subject  as  well)  being 
founded  upon  the  intervals  of  a  broken  chord.* 

Many  instances  of  this  method,  which  thus  weaves  so  close  a  relation- 
ship between  the  movements,  are  to  be  met  with  in  the  works  of  both 
Haydn  and  Mozart,  and  in  those  of  all  the  great  modern  composers. 
With  the  latter  the  idea  has  naturally  been  developed,  in  some  cases  tak- 
ing the  form  of  a  striking  feature — or  even  passage — from  one  movement 
being  interwoven  with  another.  In  others — notably  in  the  works  of 
Brahms  and  Liszt — several  movements  are  founded  on  variations  of  one 
subject.t  Other  devices  which  have  the  same  object  in  view,  viz.,  that  of 
securing  basic  unity  throughout  a  lengthy  composition  consisting  of 
several  movements,  or  parts,  are : 

(i)  L'idee  fixe,  or  "representative  theme"  (of  which  H.  Berlioz  was 
the  originator),  the  recurrence  of  which  throughout  the  work  is  always 
connected  with  the  same  definite  idea ;  and  (ii)  Wagner's  "  leit-motive  "  or 
"musical  visiting  cards"  as  a  present-day  writer  wittily  describes  them, 
because  certain  of  these  "figures"  or  "themes"  always  intimate  the  pre- 
sence or  herald  the  approach  of  some  particular  character  in  the  opera. 

(b)  Whilst  usually  analysed  as  in  "episodical  form"  (as  in  the  ac- 
companying Thematic  Scheme)  this  little  movement  is  occasionally  re- 
ferred to  as  a  Rondo.     In  the  "  Academical  Series  of  Classical  Music  for 
the  Pianoforte,"  it  is  analysed  according  to  the  first  of  the  above-men- 
tioned methods,  but  a  note  is  added  to  the  effect  that  the  three  appear- 
ances of  the  subject  create  a  Rondo  in  slow  tempo.     On  the  other  hand, 
however,  according  to  another  authority,  the  movement  cannot  be  con- 
sidered a  Rondo  because,  at  the  first  repetition  of  the  opening  theme, 
the  second  half  of  it  only  is  repeated. 

The  key  in  which  the  movement  is  written,  viz.,  that  of  the  dominant, 
is  rather  unusual.  +  The  reason  for  this  limitation  of  key  is  that,  in  by 
far  the  greater  number  of  instances  in  regularly  constructed  sonatas  in 

*  Using  the  word  "motive"  in  its  more  extended  sense,  in  which  it  may  con- 
sist of  two  to  four  bars. 

f  These  are  termed  "  transformations  "  or  "  metamorphoses  "  of  themes. 

t  See,  however,  the  slow  movement  in  Sonata  VI,  §  a,  and  its  footnote  f  (page 
36),  and  also  the  slow  movement  in  Sonata  XVIII. 

10 


130  MOZART'S  PIANOFORTE   SONATAS. 

the  major  mode,  the  key  of  the  dominant  has  already  been  made  very 
prominent  in  the  first  movement,  as  the  key  of  the  second  subject. 

(c)  In  Part  I  of  this  little  movement  (bars  1-32),  we  meet  with  another 
example,  the  form  of  which  it  is  impossible  to  classify  definitely  as  either 
binary  or  ternary. 

It  is  constructed  as  follows : 

Its  Part  i  is  a  sixteen-bar  sentence  in  the  tonic,  the  second  half  of 
which  is  a  varied  repetition  of  the  first  eight  bars,  also  further  modified  at 
the  close,  to  end  with  a  perfect,  instead  of  with  a  half,  cadence.  A  new 
eight-bar  theme  in  the  dominant  (17-24)  follows,*  after  which,  in  bars 
25-32,  a  return  is  made  to  the  second  half  of  Part  i. 

This  return  is  characteristic  of  binary  form,  as  is  also  the  division  of 
the  thirty-two  bars  into  two  equal  portions,  each  followed  by  double  bars, 
and  repeated.  Yet,  notwithstanding  the  above,  owing  to  the  fact  that  the 
return  (in  bar  25),  though  not  to  the  opening  bars  of  the  movement  is,  in 
fact,  a  return  to  a  variation  of  them,  the  impression  conveyed  is  decidedly 
that  of  ternary  form  (i.e.,  statement,  digression  and  restatement}. 

Percy  Goetschius  refers  to  it  as  being  in  "  incomplete  three-part  song-form.1' 
He  writes:  "In  the  incomplete  form  the  third  part  is  considerably  shorter  than 
Part  I,  in  consequence  of  reproducing  only  a  portion,  instead  of  the  whole,  of  the 
latter  ....  If  the  first  part  is  a  period  of  parallel  construction,  Part  III  may  appear 
to  be  the  consequent  phrase  ;  or  it  may  be  combined  out  of  the  essential  members  of 
both  phrases."  See  "The  Homophonic  Forms." 

It  is  an  example  somewhat  different  from  that  of  the  Tema  and 
Variations  forming  the  first  movement  of  Sonata  XI,  to  §  b,  in  which, 
and  its  footnote,  the  student  should  refer  (pages  72  and  73). 

(d)  This  episode  contains  no  new  theme,  but  is  founded  entirely  on 
those  in  Part  I,  to  the  sweet  tenderness  of  which  an  indescribable  pathos 
is  added  by  the  modulation  from  the  major,  to  the  minor,  mode,  in  which 
most  of  this  section  is  written. 

Starting  in  the  tonic  minor,  the  episode  modulates,  in  bar  37,  to 
B  flat  major,  and  in  41,  to  C  minor,  after  which  a  return  is  made  to  its 
original  key  of  G  minor. 

Note  the  succession  of  chords,  bar  43,  viz.,  G  minor  :  Jf  iv°7,  Ic,  VI G  6. 

(e)  Only  the  first  sentence  of  Part  I  is  repeated. 

(f)  There  is  transient  modulation  to  the  key  of  the  subdominant,  in 
bars  65-66,  repeated  in  69-70.     The  second  chord,  in  70,  is  taken  as  an 
inversion  of  the  supertonic  minor  ninth  in  this  key,  but  quitted  as  an 

*  This  theme  is,  however,  founded  on  the  foregoing  one.  The  sequence  in  the 
melody,  bars  17-20,  and  in  both  parts,  bars  21-22,  should  be  noted. 


SONATA  NO.  XVI.  13! 

inversion  of  the  dominant  minor  ninth  in  G  major.  The  third  chord 
forms  that  of  the  diminished  seventh  on  the  raised  fourth  in  the  latter 
key  (=  G  major,  II^b),  and  resolves  on  to  the  second  inversion  of  the 
tonic  triad  (see  Sonata  VII,  slow  movement,  footnote  to  coda),  page  43. 

THIRD   MOVEMENT. 

(a)  This  little  Rondo  is  of  the  older  type  of  form. 

In  the  article  on  the  "Rondo,"  in  Grove's  Dictionary,  the  distinction 
is  drawn  between  a  Rondo  and  a  movement,  or  piece,  in  Rondo-form. 
When  the  principal  subject  ends  with  a  full  close,  and  is  thus  definitely 
divided  from  the  following  episode,  the  movement  is  a  Rondo.  When, 
however,  there  is  no  full  cadence  at  this  point,  the  movement  (or  piece) 
is  not  defined  as  a  Rondo,  but  as  being  in  Rondo-form. 

(b)  The  principal  subject  is  an  eight-bar  sentence  of  very  regular 
construction,  consisting  of  two  four-bar  phrases,  each  further  subdividing 
into  two  contrasting  two-bar  sections.     The  second  phrase  is  a  variation 
of  the  first,  modified  to  close  on  a  full,  instead  of  on  a  half,  cadence. 
The  rhythm  of  the  entire  movement  is,  in  fact,  unusually  regular  for, 
with  the  exception  of  the  very  last  phrase,  which  is  extended  to  five  bars, 
four-bar  rhythm  continues  unbroken  throughout. 

(c)  The  first  episode  is  very  short,  consisting  of  one  eight-bar  sen- 
tence.    It  is  founded  on  the  principal  subject,  its  second  phrase  starting 
with  the  opening  section  of  that  subject  transposed  into  the  key  of  the 
dominant.     The  short  link  starts  on  the  chord  of  G,  which  changes,  in 
bar  1 8,  to  the  chord  of  the  dominant  seventh  in  C  major,  and  leads  to 
the  second  entry  of  the  principal  subject. 

Prout  remarks  that:  "  In  general,  if  after  one  eight-bar  sentence  ending  in  the 
tonic  (as  in  this  movement)  the  first  modulation,  supposing  the  piece  to  be  in  a  major 
key,  is  to  the  key  of  the  dominant,  it  is  better  to  regard  what  follows  as  belonging 
TO  the  chief  subject  rather  than  as  episode,  because  in  the  majority  of  cases  the  music 
will  be  more  of  a  continuation  than  a  contrast."  And  of  this  movement  in  particu- 
lar, he  also  remarks:  "Had  not  Mozart  expressly  called  this  movement  'Rondo' 
we  should  certainly  not  have  so  regarded  it;  for  one  of  the  most  distinctive  features 
of  the  Rondo  form — contrast  of  episode — is  almost  entirely  wanting.  As  it  is,  we 
are  compelled  in  analysing  it  as  a  Rondo  to  consider  the  chief  subject  as  ending  in 
bar  8  ;  otherwise  there  is  only  one  episode,  arid  the  piece  is  no  longer  a  Rondo.  Had 
not  the  composer  himself  so  described  it,  we  should  have  said  that  the  movement 
was  in  ternary  form." 

(d)  The  second  (and  longer)  episode  is  also  founded  on  the  principal 
subject.     It  is  written  in  the  relative  minor  key  and  starts  with  the  open- 
ing section  of  that  subject  inverted,  and  accompanied  in  the  treble  by  a 
new  semiquaver  figure. 


132  MOZART'S   PIANOFORTE   SONATAS. 

Bars  3<D2-321  repeat  the  foregoing  section  with  the  parts  re-inverted. 
The  succeeding  phrase  ends  on  a  half-cadence,  in  bar  36,  the  cadence 
being  repeated  and  prolonged  to  bar  40,  after  which  the  whole  of  the 
foregoing  portion  of  the  episode  is  repeated  in  modified  form — the  first 
four  bars  having  the  parts  inverted.  It  closes  finally  on  a  full  cadence 
in  A  minor.  The  short  link  ends  on  the  dominant  seventh  in  C  major, 
and  leads  to  the  third  entry  of  the  principal  subject.  The  following 
chords  should  be  noted  :  (i)  The  chord  of  the  Neapolitan  sixth  in  A  minor, 
both  in  bars  33  and  47.  In  the  former  case,  however,  the  chord  is  quitted 
as  the  first  inversion  of  the  chord  of  the  submediant  in  D  minor,  through 
which  key  there  is  transient  modulation ;  (ii)  The  chord  of  the  augmented 
sixth  in  A  minor,  in  the  half -cadence,  bars  35-36. 

(e)  The  coda  is  founded  on  a  combination  of  semiquaver  figures 
taken  from  the  second  link,  and  the  first  episode. 

Ridley  Prentice  considers  that  bars  6o2-68,  form  a  "closing  subject," 
the  coda  commencing  with  this  passage. 


SONATA  No.  XVII,*  IN  B  FLAT  MAJOR  (K.  570),  (1789). 
THEMATIC  SCHEME. 


Allegro 


I 

ii  I    EEEHEjjE*  Ep    k»  i 

»-f           *  r                          ^^"^- 

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m                                ^y                         »__!_,_                                                    1 

J^Z^ 

K*).  .IT    TY          1 
p-  -£  

-i 

—  j^-=^== 

'  "T-I       '    1             i 

1 

*/ 

In  three  movements. 

(a)f  FIRST  MOVEMENT—  "  ALLEGRO,"  IN  B  FLAT  MAJOR.     SONATA  FORM. 


EXPOSITION. 

Bars. 

FREE   FANTASIA. 

RECAPITULATION. 

Bars. 

fb)  First  Subject  in  Tonic. 
(c)  Passage  of  Transition, 
(d)  Second    Subject    in    F 
major  (Dominant), 
(e)  Codetta. 
Double  bar  and  repeat. 

1-20 
21-40 

41-69 
70-79 

(f)  Bars  80-132. 

First  Subject  in  Tonic, 
(g)  Passage  of  Transition. 
Second    Subject    i  n 
Tonic. 
Codetta, 
(h)  Double  bar  and  repeat. 

133-152 
153-170 

171-199 
200-209 

1-12 


13-28a3 


SECOND  MOVEMENT—  "  ADAGIO,"  IN  E  FLAT  MAJOR  (KEY  OP  THE  SUBDOMINANT). 

OLD  RONDO  FORM. 

(a)  Principal  Subject  (in  Tonic)  first  entry.     Ternary  Form    

'Part  i,  Melody  in  E  flat  major 1-4 

Double  bar  and  repeat. 

Part  ii,  Four  bars  containing  slight  digression 5-8 

Part  iii,  Repetition  of  Part  i 

Double  bar  and  repeat. 
Episode  I,  in  C  minor  (Relative  minor),  Ternary  Form 

Part  i,  New  melody  in  C  minor,  modulating  to  G  minor  fol- 
lowed by  repetition  written  out  in  full  ...         ...         ...     13- 

Double  bar. 

Part  ii,  Modulating,  sequential  passage  leading  to 
Part  iii,  Repetition  of  Part  i,  modified  so  as  to  close  with  full 
cadence  in  C  minor  ...         ...         •••         •••         •••         •••     25- 

Double  bar  and  repeat. 

Link,  modulating  and  leading  to         •••          28a— 31 

Principal  Subject  in  Tonic  (second  entry),  partial  reappearance  only     ...  32—35 

Double  bar. 

Episode  II.  in  A  flat  major  (Subdominant),  Binary  Form 36-47 

'Part  i,  Melody  in  A  flat  major,  modulating  to  E  flat  major,  1 

followed  by 'repetition  written  out  in  full     ... 

Double  bar.  f 

Part  ii,    Melody,  modulating  back  to  A  flat  major  44-47 

Double  bar  and  repeat.  ) 


Link,  modulating,  and  leading  to 
Principal  Subject  (in  Tonic),  third  entry,  partial  reappearance  only 


(b)  Coda 


48-51 
52-55 
56-63 


has  also  been  arranged  as  a  duet  for  piano  and  violin^  though  by  whom  the  violin  part  was 


t  Those  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 


text. 


i34  MOZART'S  PIANOFORTE  SONATAS. 

THIRD  MOVEMENT—"  ALLEGRETTO,"  IN  B  FLAT  MAJOR,     (a)  EPISODICAL 


Part  I  (or  Principal  Subject),  Ternary  Form          To  223 

(Part  i.  Melody  in  B  flat  major .         ...        ...    To     83) 

<  Part  ii.  Passage  in  F  major  (Dominant)  ...     8-4-14   £ 

(.Part  iii,  Repetition  of  Part  i  (exact)     ...         15-223; 

Double  bar. 

Part  II.     (b)  Episode       '...         22-4—56 

Comprising  two  distinct  sections,  each  in  Ternary  Form. 

Section  i,  in  B  flat  major  (Tonic)  ...         22-4-4'-> 

Part  i  22-4-304 

Melody  in  B  flat  major,   modulating  and  ending  in   F 
major  (Dominant). 

Double  bar  and  repeat. 

Part  ii  30-4-344 

Passage  starting  in  C  minor,   and  modulating  through 
B  flat  minor  to  F  major  (Dominant). 

Part  iii         34-4-42 

Repetition  of  Part  i,  modified  to  end  in  the  key  of  the 
Tonic. 

Double  bar  and  repeat. 

Link      _.      42-^-44 

Section  ii,  in  E  flat  major  (key  of  the  Subdominant)      45-56 

fPart  i  45-48      ^ 

Melody  in  E  flat  major,  modulating  to  B  flat  major  (Dom- 
inant). 

Double  bar  and  repeat. 

Part   ii          49-52 

Modulating  passage   founded  on   figures  from  the  pre- 
ceding sentence. 

Part  iii         53-50 

Repetition  of  Part  i,  modified  to  close  in  E  flat  major. 
Double  bar  and  repeat. 

Link  57-62 

Part  III        63-703 

Repetition  of  portion  of  Part  I  (eight  bars  only), 
(c)  Coda 70-4-89 


FORM. 
Bars. 


FIRST   MOVEMENT. 

(a)  In  direct  contrast  to  what  we  remarked  in  connection  with  the 
previous  sonata  which,  as  we  mentioned,  seems  to  be  by  far  more  fre- 
quently quoted  than  any  of  the  other  sonatas  by  writers  on  musical  form, 
this  one  is  seldom  referred  to. 

We  call  attention  to  the  fact  here  on  account  of  our  consequent  in- 
ability to  quote  varied  opinions  on  any  points  throughout  the  work. 

(b)  The  first  subject  consists  of  two  sentences,  each  ending  with  fulJ 
close  in  the  tonic.     The  construction  of  bars  43-i21,  should  be  carefully 


SONATA  NO.  XVII.  135 

noted.  The  eight  bars  contain  the  responsive  phrase  of  the  opening  sen- 
tence, and  its  cadential  repetition.  Instead,  however,  of  dividing  equally 
into  a  normal  four-bar  phrase,  and  its  repetition  of  similar  length,  the 
phrase  is  first  contracted  to  three  bars,  and  then,  on  repetition,  is  length- 
ened to  five  bars  by  slight  extensions  both  at  the  commencement,  and  at 
the  close. 

(c)  The  principal  portion  of  the  transition  is  of  very  melodious  char- 
acter.    It  starts  with  two  introductory  bars  in  G  minor,  after  which  a 
melodious  four-bar  phrase  in  E  flat  major  enters.     This  is  immediately 
repeated  and  extended,  modulating  to  F  major  (the  key  of  the  dominant), 
through   C   minor  and   B   flat  major,  and  again  momentarily  through 
C  major,  back  to  F.     The  concluding  bars  of  the  passage  are  more  char- 
acteristic of  the  transition  of  the  period. 

(d)  It  is  of  interest  to  note  that  the  opening  phrases  of  this  subject 
are  formed  by  a  combination  of  the  first  motive  of  the  first  subject  with 
a  second  motive,  which  is  derived  from  the  second  motive  of  the  same 
subject*     These,  transposed  of  course,  into  the  key  of  the  second  subject, 
are  now  heard  together  instead  of  consecutively. 

Instances  in  which  the  second  subject  is  derived  from  the  first  sub- 
ject, are  to  be  met  with  fairly  frequently  in  the  compositions  of  the  earlier 
classical  composers,  the  device  being  a  relic  of  the  still  older  forms  from 
v/hich  sonata-form  was  developed. 

Prout  remarks  :  "In  modern  compositions  the  second  subject  is  mostly  con- 
structed of  entirely  different  thematic  material  from  the  first ;  at  the  same  time,  the 
contrast  must  not  be  too  violent ;  the  second  subject  ought  rather  to  be  like  a  con- 
tinuation of  the  train  of  thought  of  the  first.  The  older  composers  frequently  sought 
to  obtain  this  by  founding  the  first  section  of  the  second  subject  on  a  portion  of  the 
first  subject  presented  in  a  new  aspect." 

In  this  instance,  the  continuation  of  the  subject  (which  rather  un- 
usually consists  of  one  section  only)t  is  likewise  founded  on  a  small 
figure  derived  from  the  final  notes  of  the  second  of  the  above  motives. 

In  bars  45-48,  the  opening  phrase  of  the  subject  is  repeated  on  the 
chord  of  the  diminished  triad. 

Owing  to  the  freshness  which  the  inversion  of  the  parts,  together  with  the  new 
figures  of  accompaniment,  gives  to  the  passage  (bars  57-69)  it  is  possible  that  some 
analysers  would  mark  it  as  forming  a  separate,  and  second,  section  of  the  subject. 
As,  however,  it  is  merely  the  accompaniment  which  is  new,  the  passage  itself  being 
merely  a  modified,  inverted  repetition  of  what  immediately  precedes  it,  it  seems 
more  consistent  to  look  upon  both  passages  as  belonging  to  the  same  section. 


*  See  *  page  129. 
f  See  Sonata  II,  third  movement,  §  c,  l>age  12. 


136  MOZART'S  PIANOFORTE  SONATAS. 

(e)  The  codetta  consists  of  a  four-bar  phrase,  repeated  cadentially 
with  slight  modification  and  extension.     The  chord  of  F  major,  II  [>9b, 
bar  74,  should  be  noted. 

(f)  The  free  fantasia  opens  with  an  almost  literal,  though  somewhat 
lengthened,  transposition  of  the  transitional  passage.     Commencing   in 
the  key  of  D  flat  major,  it  modulates  through  B  flat  minor,  F  minor,  and 
C  minor,  to  G  minor,  on  a  half -cadence   in  which  key  the  first  portion 
of  the  free  fantasia  closes.     Bar  94  forms  the  chord  of  G  minor,  VIF.  6. 

The  remainder  of  the  section  is  worked  on  the  opening  phrase  of 
the  second  subject — first,  on  the  entire  phrase,  but,  after  bar  1 16,  the  bold 
arpeggio  figure  is  dropped,  and  the  remainder  of  the  passage  is  worked 
on  the  quaver  figure  alone.  In  bars  101-104,  the  phrase  is  taken  on  the 
tonic  chord  in  G  major,  modulating,  in  the  last  bar,  to  C  minor,  on  the 
dominant  seventh  in  which  key  the  phrase  is  repeated,  in  bars  105-108. 
In  1 09- 1 1/1,  the  foregoing  eight  bars  are  repeated  with  the  parts  inverted, 
this  time,  however,  on  the  tonic  chord  in  C  minor,  and  the  dominant 
seventh  in  F  minor.  Bars  117-122  form  a  descending  sequence,  modu- 
lating through  E  flat  major  and  C  minor.  In  bar  125,  the  parts  are  again 
inverted,  the  music  modulating  to  B  flat  minor.  The  §  ends,  after  yet 
another  re-inversion  of  the  parts,  on  the  dominant  seventh  in  B  flat  major. 

(g)  The  transition  reappears  modified  so  as  to  end  in  the  key  of  the 
tonic. 

(h)  See  Sonata  II,  first  movement  (§  1),  page  9. 


SECOND   MOVEMENT. 

(a)  Beyond  the  various  details  of  construction  given  in  the  Thematic 
Scheme,  the  principal  points  which  the  student  should  note  in  regard  to 
this  movement  are  that : 

(i)  The  "time"  of  the  movement  is  really  two  crotchets  to  the  bar, 
and  not  four,  as  is  actually  written.*  The  position  of  the  cadences  proves 
this;  as  now  written,  they  invariably  fall  in  the  weaker  half  of  the  par- 
ticular measures  in  which  they  occur,  whereas,  if  the  movement  is  re- 
written with  the  shorter  measures  not  only  will  the  cadences  all  fall  natur- 
ally and  regularly  in  the  more  strongly  accented  of  the  measures,  but, 
in  by  far  the  greater  number,  the  cadence-chord  will  also  fall  on  the 

*  It  is  preferable  to  regard  the  time  as  two  crotchets  to  the  bar,  because  the  ac- 
centuation of  the  greater  part  of  the  movement  is  \ . 


SONATA  NO.   XVII.  i^j 

strong  accent.*  Moreover,  when  re-written  as  above,  the  sentences 
throughout  the  movement  will  prove  to  be  of  the  normal  eight-bar  length, 
all  regularly  dividing  into  two  four-bar  phrases. 

(ii)  Considering  that  no  portion  of  either  of  the  two  episodes  is  in 
any  way  modified  on  repetition,  Mozart  has  made  use  of  an  unusual  com- 
bination of  methods  in  indicating  these  repetitions.  For,  in  both  cases, 
that  of  Part  I  is  written  out  in  full,  whereas,  in  the  later  portion  of  each 
episode,  he  has  had  recourse  to  the  more  usual  method,  under  such  cir- 
cumstances, viz.,  that  of  enclosing  the  portion  within  double  dotted  bars. 

(b)  The  coda  is  founded  on  the  episodes. 

THIRD   MOVEMENT. 

(a)  This  is  the  only  instance  in  these  sonatas  in  which  Mozart  has 
chosen  episodical  form  for  the  finale. f 

We  may  here  draw  attention  to  the  fact  that,  as  in  the  case  of  some  previous 
movements,  this  one  also  is  wrongly  barred.  In  this  instance,  however,  correct  bar- 
ring is  not  obtained  by  halving  the  measures,  but  by  shifting  the  bar-lines  to  a  posi- 
tion immediately  preceding  what  is  now  written  as  the  third  crotchet  in  the  bar. 
That  this  beat  should  really  bear  the  strong  accent,  is  again  proved  by  the  position  of 
the  cadences  throughout  the  movement. 

(b)  In  an  earlier  movement  we  referred  to  Banister's  definition  of  art 
episode  as  being  "  a  movement  within  a  movement."     In  this  instance  the 
construction   of   the   episode   is  interesting,    for,   as   a  reference   to   the 
Thematic  Scheme  will  show,  it  contains  not  merely  one,  but  two,  complete 
little  movements,  each  of  which  is  in  perfectly  regular  ternary  form.   Each 
one  of  them  is  self-contained,  that   is   to   say,  it   closes   with   a   perfect 
cadence  in  its  own  key;  and,  moreover,  each  has  the  two  sets  of  double 
bars  with  repeat  marks — one  after  Part  i,  and  the  second  at  the  close  of 
Parts  ii  and  iii — a  characteristic  of  independent  small  movements  in  this 
form,  such  as  we  are  familiar  with  in  the  Minuet.     A  short  link  connects 

*  Stewart  Macpherson  explains  that  by  the  term  "cadence-chord"  is  always  to 
be  understood  the  final  chord  of  a  phrase,  save  in  such  instances  as  the  following, 
where  the  two  harmonies  occurring  upon  the  final  bass-note  are  conveniently  re- 
garded as  one,  and  are,  as  a  consequence,  to  be  taken  as  together  representing  the 
cadence-chord  : 

(a)  A  half-cadence  ending  with  a  2  followed  by  a  3  on  the  dominant  bass. 

(b)  A  perfect  cadence,  with  a  retardation  of  dominant  harmony  over  the  tonic 
bass. 

(c)  A  half-cadence  in  which  accented  passing-notes  (or  appoggiaturas)  delay  the 
appearance  of  the  final  dominant  harmony.     ("Form  in  Music.") 

f  See,  however,  Prout's  remark  quoted  in  the  third  movement  of  the  previous 
sonata,  §  c,  page  131. 


138  MOZART'S   PIANOFORTE    SONATAS. 

the  two,  and  a  second  Jink  at  the  end  of  the  episode  leads  into  a  repeti- 
tion of  a  portion  of  the  principal  subject  which  forms  Part  III  of  the 
movement.     Details  to  be  noted  in  the  episode  are  that : 
(i)  The  opening  bars  are  written  on  a  tonic  pedal ; 

(ii)  Bars  27-28,  in  the  keys  of  G  minor  and  F  major  respectively,  are 
of  sequential  character; 

(iii)  Bars  31-32,  in  C  minor,  modulating  to  B  flat  minor,  are  founded 
on  the  principal  motive  in  the  preceding  melody,  and  form  a  short 
sequence  ; 

(iv)  The  link,  starting  in  bar  42,  is  founded  on  a  little  figure  from 
the  principal  subject  (bars  4-5) ; 

(v)  Part  ii  of  the  second  little  movement  opens  in  the  bass  with  the 
repeated  note  figure  with  which  its  Part  i  commenced  in  the  treble,  but 
taken  by  inverse  movement;  and  bars  51-52  are  an  inversion  of  47-48,  the 
intervals  in  the  treble  of  51,  being  also  taken  by  inverse  movement; 

(vi)  The  opening  bars  of  the  second  link  are  founded  on  the  chro- 
matic scale-passage,  first  heard  in  bar  47.  The  passage  is  first  taken  in 
the  bass,  and  then,  with  the  parts  inverted,  it  is  imitated  a  seventh  higher 
in  the  treble.  The  closing  bars  are  a  repetition  of  a  passage  from  Part  ii 
of  the  principal  subject  (bars  12-14). 

(c)  The  Coda  is  founded  on  passages  from  both  sections  of  the 
episode.  Bars  74'4-78,  are  repeated  in  784-82,  with  the  parts  inverted  and 
varied. 


SONATA  No.  XVIII,  IN  D  MAJOR  (K.  576),  (1789). 
THEMATIC  SCHEME. 


I 


All  gro 


-#4-6: I— =  =-d"TH:~' — '— ^ g— "g^F^F *  ^^q^rj^-rT"*"' 

-9-          -9-  ESS 


In  three  movements. 


FIRST  MOVEMENT— "ALLEGRO,"  IN  D  MAJOR.     SONATA  FORM. 


EXPOSITION. 


I     Bars. 


(a)*  First  Subject  in  Tonic, 
(b)  Transition. 

Second    Subject    in    A 
major  (Dominant). 
(cHj§   1.   27-2-412.) 

(d)  (§  2.  41-2-531.  J 

(e)  Codetta. 

Double  bar  and  repeat. 


To  161 
16-2-272 


27-2-531 
53-1-58 


FREE   FANTASIA. 


(f)  Bars  59-98. 


RECAPITULATION. 


(g)  First  Subject  in  Tonic. 

(h)  Transition,        modified 
and  lengthened. 

(j)  Second  Subject  (in 
Tonic),  second  §  reap- 
pears first. 
J§  2.  121-2-1372.) 
\§  1.  137-2-1551.  J 

(k)  Codetta. 


Bars. 


98-2-1062 
106-2-1212 

121-2-1551 
155-1-160 


SECOND  MOVEMENT—"  ADAGIO,"  IN  (a)  A  MAJOR  (!VEY  OP  THE  DOMINANT). 
(b)  EPISODICAL  FORM. 


(c)  Part  I  (or  Principal  Subject)  in  Tonic     ... 

(     A.  Melody  in  A  major,  closing  on  full  cadence     1-8       ) 

J      B.  New  four-bar  phrase,  with  transient  modulation  to  E 

major  (Dominant)      ...     9-12      |" 

I  Return  to  one  of  the  phrases  in  first  melody    ...         ...     13-162  J 

Link  of  three  notes — A  sharp,  B,  B  sharp 

(d)  Emsode  in  F  sharp  minor  (Relative  minor),  Ternary  Form    ... 

Parti    ...  .         ...         ...         ...         17-261 1 

Melody  in  F  sharp  minor  and  D  major 

Part  ii  ... 26-1-31 

Passage,  modulating,  and  ending  on  half-cadence  in  F  sharp 
minor,  leading  to    ... 

Part  iii  32-411 

Repetition  of  Part  i,  modified  to  close  on  full  cadence  in  F 
sharp  minor. 
Link,  leading  to 
Pnrt  III 

Repetition  of  Part  i  (exact). 

(e)  Coda        


Bars. 


1-162 


16 
17-4H 


41-1-43 
44-591 

59-2-67 


*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
text. 

t  The  symbol  §   is  here  employed  to  denote  a  section  of  a  subject. 


140 


MOZART'S  PIANOFORTE  SONATAS. 


THIRD  MOVEMENT— "  ALLEGRETTO,"  IN  D  MAJOR,     (a)  IRREGULAR  SONATA- 


*EXPOSITION. 

Bars. 

FORM. 
FREE   FANTASIA. 

Bars. 

RECAPITULATION. 

Bars. 

(b)  First  Subject  in 
Tonic, 
(c)  Transition. 
Second     Subject 
in  A  major  (Dom- 
inant), 
(d)    [§  1.  26-441.     1 
(e)   \  §  2.    44-1-501.  \ 
if)    {  §  3.    502-581.  J 
(g)  Codetta. 

1-161 
16-2-25 

26-581 
582-64 

(a)  First      Subject 
(second  entry). 

(h)  Section     of     De- 
velopment. 

65-801 
80-2-116 

Second     Subject     in 
Tonic. 
(§  1.  117-1351.     } 
{  §  2.   135-1-14H.  } 
If  3.    1412-1491.1 
(j)    Connecting    pas- 
sage founded  on 
the    original  Co- 
detta leading  to 
(j)    Coda. 

117-1491 
1492-162 
163-189 

*  The  Exposition  in  this  movement  is  perfectly  regular  whether  the  movement  be  regarded  as  in  Sonata, 
or  in  Sonata-Rondo,  form.  In  the  former  case,  the  Exposition  ends  with  the  passage  (g)  in  bar  64 ;  in  the 
latter  case,  in  bar  80,  after  the  succeeding  entry  of  the  Principal  subject. 

FIRST   MOVEMENT. 

(a)  The  first  subject  consists  of  an  eight-bar  sentence  ending  with 
full  close  in  the  tonic,  the  sentence  being  then  repeated  varied.     It  is 
divided  into  two  four-bar  phrases,  each  of  which  as  clearly  subdivides 
into  two  two-bar  sections.     The  second  phrase  starts  in  sequence  to  the 
first  on  the  chord  of  E  minor,  to  which  key  there  is  transient  modulation. 

The  sub-division  of  these  phrases  into  sections  is  distinctly  denned  though  there 
is  neither  a  rest  nor  a  cadence  of  any  description,  in  either  bar  2,  or  bar  6,  to  mark 
such  division.  In  his  work,  "Form  in  Music,"  Stewart  Macpherson,  quoting 
this  passage,  remarks  "  nevertheless,  the  ear  most  certainly  responds  to  the  idea  of  a 
definite  division  after  the  third  A  in  bar  2,  and  after  the  third  B  in  bar  6.  The 
reason  for  this  lies  probably  in  the  antithetical  character  of  the  music  of  the  two 
sections  in  each  case,  and  to  some  extent  at  least  in  the  sudden  change  from  a  bare 
passage  in  octaves  to  one  in  fuller  harmony." 

(b)  The  transition  is  worked  on  semiquaver  figures  derived  from  the 
first  subject.     The  greater  portion  of  the  passage  is  in  the  key  of  the 
tonic,  but  it  modulates  to  that  of  the  dominant,  in  bar  25.     A  comparison 
of  the  opening  portion  of  the  exposition  with  the  corresponding  portion 
of  the  recapitulation  shows  that  the  phrase  (starting  in  bar  8),  which  com- 
mences the  repetition  of  the  first  subject,  forms,  in  the  recapitulation,  the 
first  phrase  of  the  transition. 

(c)  The  first  section  of  the  second  subject  is  founded  on  the  first 
subject,  commencing  with  a  reproduction  of  the  opening  motive  of  the 
latter,  transposed  into  the  key  of  the  dominant. t    The  entirely  new  con- 


t  See  Sonata  XVII,  first  movement  (§  d),  page  135. 


SONATA  NO.   XVIII.  l^i 

ditions,  however,  under  which  the  motive  is  now  reproduced,  renders  the 
passage  very  fresh  and  interesting-.  It  is  written  with  close  canonic  imi- 
tation, 2  in  i,  between  the  parts,*  the  lower  part  imitating  the  upper  in 
the  octave  below,  at  only  one  quaver's  distance.  Dr.  Fisher  does  not  look 
upon  this  passage  as  a  part  of  the  second  subject.  He  considers  that 
the  latter  does  not  commence  until  the  last  quaver  in  bar  41,  the  point  at 
which — according  to  a  more  generally  accepted  view — the  second  sec- 
tion of  this  subject  commences.  The  reason^ he  gives  for  his  opinion  is 
that  the  passage  does  not  reappear  in  the  corresponding  place  and  key  in 
the  recapitulation.  On  the  other  hand,  however,  a  careful  study  of  the 
foregoing  pianoforte  sonatas  shows  that,  though  there  is  a  certain  same- 
ness in  general  outline  throughout  these  works,  the  wealth  and  variety 
cf  detail  are  very  great,  and,  moreover,  that  Mozart  often  made  use  of 
methods  which,  at  the  time,  were  exceptional  both  as  regards  arrange- 
ment and  treatment  of  matter,  and  choice  of  key.f 

In  connection  with  this  it  will  be  of  interest  to  quote  some  very  pertinent  re- 
marks of  Dr.  Hadow's.  In  writing  of  the  great  classical  composers,  he  observes  : 
"It  is  worth  remembering  that  these  men  did  not  follow  rules,  but  made  them,  and 
often  experimented  as  they  went  along.  Haydn  and  Mozart  are  feeling  their  way 
through  a  form  which  they  inherited  from  C.  P.  E.  Bach  and  handed  on  to  Beethoven, 
and  in  analysing  them  one  must  be  guided  by  their  spirit  and  especially  by  their 
sense  of  proportion." 

We  have  already  drawn  attention,  earlier  in  this  work,  to  the  various 
innovations  to  be  met  with  in  Mozart's  Rondo  movements.  And  although 
exceptional  features  occur  far  less  frequently  in  his  movements  in 
sonata-form,  still  instances  are  not  wanting  to  show  that,  even  in  these, 
Mozart  occasionally  allowed  himself  to  depart  from  his  usual  methods, 
even  more  especially  as  regards  the  question  of  key,  than  that  of  struc- 
ture. Below,  we  give  a  few  examples  which  refer  only  to  variety  of 
treatment  occurring  in  Mozart's  recapitulations : 

See  (i)  the  first  movement  in  Sonata  IX,  where  the  recapitulation 
of  the  second  subject  is  exceptionally  taken  before  that  of  the  first  sub- 
ject. And  for  unusual  choice  of  key  : 

(i)  The  first  movement  of  Sonata  VII,  in  C  major,  where,  in  the 

*  I.e.,  a  canon  (or  canonic  passage),  in  which,  as  in  this  instance,  two  voices 
take  part  in  the  imitation  of  cne  melody.  Such  canons,  however,  often  have  an 
accompaniment  of  one,  or  more,  other  voices,  which  are  freely  written,  and  do  not 
take  part  in  the  imitation. 

f  In  two  instances,  also  in  his  pianoforte  sonatas,  viz.,  in  No.  IV  and  No.  XI, 
Mozart  allowed  himself  the  freedom  to  choose  an  unusual  "  form  "  for  the  first  move- 
ment. See  Sonata  IV,  first  movement,  §  (a),  page  22. 


142  MOZART'S  PIANOFORTE  SONATAS. 

recapitulation,  the  first  subject  is  reproduced  with  an  interlude  in  the  tonic 
minor,  the  repetition  of  the  opening  sentence  (bars  8-14)  reappearing  in 
this  key. 

(ii)  The  first  movement  of  Sonata  X,  in  C  major,  where,  in  the  recap- 
itulation, the  practically  literal  reproduction  of  the  exposition  is  con- 
tinued further  than  is  usual,  the  first  phrase  of  the  second  subject  recur- 
ring in  the  key  of  the  dominant ',  as  at  its  first  hearing,  the  music  only 
reverting  to  the  key  of  the  tonic  in  the  final  bar  of  this  phrase. 

(iii)  The  third  movement  of  Sonata  XII,  in  F  major,  where,  in  the 
recapitulation,  the  first  section  of  the  second  subject  reappears  in  the  key 
of  the  tonic  minor. 

(iv)  The  first  movement  of  Sonata  XVI,  in  C  major,  where,  in  the 
recapitulation,  the  first  subject  is  taken  in  the  key  of  the  sub  dominant. 

Bearing  in  mind,  therefore,  .  the  various  unusual  examples  men- 
tioned above,  together  with  the  special  features  of  the  particular  passage, 
bars  27"2-4i2,  now  under  discussion  (which  we  will  tabulate  below)  we 
prefer  the  analysis  given  in  the  accompanying  Thematic  Scheme  to  that 
furnished  by  Dr.  Fisher. 

These  features  are  that : 

(i)  The  passage  does  reappear  in  the  recapitulation,  though  after, 
instead  of  before,  the  repetition  of  the  greater  part  of  the  passage,  bars 
4I"2~531>  which,  in  the  exposition,  it  immediately  precedes. 

(ii)  Though  the  key  in  which  the  recapitulation  of  the  passage  com- 
mences is  very  unusual,  and  does  not  correspond  to  the  key  in  which  the 
passage  starts  in  the  exposition,  this  non-parallelism  of  keys  only  lasts 
during  the  first  two-bar  phrase.  After  this,  the  remainder  of  the  section 
appears  in  the  strictly  parallel  keys  of  E  minor  and  D  major  (the  tonic); 
the  keys  of  the  corresponding  portion  of  the  original  passage  being  B 
minor  and  A  major  (the  dominant).  And,  moreover, 

(iii)  The  passage  in  question  concludes  with  the  recapitulation  of 
bars  50-5J1,  which  Dr.  Fisher  agrees  in  marking  as  the  final  bars  in  the 
exposition  of  the  second  subject.  In  fact,  to  state  it  still  more  clearly, 
these  bars  are  here  absolutely  incorporated  into  this  passage,  of  which 
they  now  form  the  final  phrase.* 

*  It  should  be  here  noted  that,  in  the  later  part  of  the  movement,  the  positions 
of  the  two  sections  are  reversed.  The  second  section — all  but  its -final  phrase,  i.e., 
bars  50-531,  the  phrase  now  being  discussed — is  recapitulated  first .  Then  follows  the 
first  §,  after  which  the  final  phrase  of  the  second  section,  which  was  previously 
omitted,  brings  the  subject  to  a  conclusion,  thus  retaining  the  original  position  it 
held  in  the  exposition. 


SONATA  NO.   XVIII.  !43 

•  As  an  interesting  commentary  on  the  above  discussion,  we  give  below  the  ana- 
the  latter  portion  of  the  exposition,  as  furnished  bj  Percy  Goetschius. 
.bor  he  not  only  considers  that  the  second  subject  commences  with  the  passage  in 
question,  but  that  this  passage  is  the  second  subject.  He  marks  the  sentence  7bars 
41-2-53)  which  is  more  generally  considered  the  second  section  of  the  subject,  as 
Codetta  I,  and  the  concluding  bars  of  the  exposition  as  Codetta  II. 

(d)  As  was  the  invariable  rule  when  the  first  section  of  the  second 
subject  was  founded  on  the  first  subject,  the  second  section  is  quite  new.* 

t  consists  of  a  melody  of  twelve  bars,  containing  three  phrases  of  un- 
equal length,  viz.,  of  four,  five,  and  three  bars  respectively.  The  second 
phrase  is  a  modified  repetition  of  the  first. 

(e)  The  short  codetta  is  founded  on  previous  figures. 

(f)  This  section  is  worked  chiefly  on  figures  from  the  first  subject 
and  the  last  two  bars  of  the  codetta.    It  is  notable  for  the  different  inter- 
esting passages  of  canonical  imitation,  variations  of  the  passage  with 
which  the  second  subject  opens.     In  bars  63-6;1,  the  bass  imitates  the 
treble  at  the  octave  below,  at  the  distance  of  a  whole  bar,  whilst,  from 
70-/31,  the  treble  imitates  the  bass  at  the  octave  above,  at  a  half-bar's 
distance.     Again,  the  various   instances  of  inversion  of  parts,  and   the 
double  dominant  pedal  which,  starting  in  bar  92,  accompanies  the  suc- 
ceeding chromatically  ascending  passage,  should  be  noted. 

The  Free  Fantasia  starts  in  the  key  of  A  minor,  and  passes  through 
B  flat  major,  G  minor,  A  minor,  B  minor,  F  sharp  major  and  minor, 
B  minor,  E  minor,  and  A  major,  to  D  major.  It  closes  with  a  link  of 
descending  semiquaver  figures  which  leads  to  the  recapitulation  of  the 
first  subject. 

(g)  Only  the  first  eight  bars  of  the  first  subject  are  heard  here. 

(h)  With  the  exception  of  the  last  four  bars,  the  second  transition  is 
entirely  new.  The  passage  opens  as  if  it  were  going  to  be  a  continuation 
of  the  first  subject,  but  it  alters  at  the  close  of  bar  108,  where  the  bass 
starts  imitating  the  treble  at  a  twelfth  below,  and  at  a  whole  bar's  dis- 
tance (see  b).  Bars  iog"2-ii2  are  an  inversion  of  bars  io6'2-ic>9,  the  inver- 
sion overlapping  the  original  passage. 

The  last  figure  in  the  inverted  passage  is  curtailed,  and,  in  this  form, 
becomes  the  starting-point  of  the  succeeding  passage.  In  this,  the  cur- 
tailed figure  is  imitated  and  repeated  for  several  bars,  the  figures  over- 
lapping each  other  at  every  entry,  and  the  whole  passage  rising  sequenti- 
ally, and  modulating  from  G  major,  through  A  minor,  and  B  minor,  to 
the  key  of  D  major  (the  tonic). 


*  A  few  isolated  instances  to  the  contrary  are  to  be  met  with. 


144  MOZART'S  PIANOFORTE  SONATAS. 

(j)  The  recapitulation  of  the  second  section  of  the  second  subject 
appears  exceptionally  before  that  of  the  first  section,  and  is  modified  and 
lengthened. 

It  should  be  noted  that  although  the  second  section  now  contains 
four,  instead  of  only  three  phrases  as  before,  its  original  -final  phrase  is 
omitted  here,  and  is  not  heard  until  after  the  completion  of  the  recapitula- 
tion of  the  first  section  which  follows.*  The  lengthening  above  men- 
tioned is  produced  (i)  by  a  new  responsive  phrase  ending  with  a  perfect 
cadence  in  the  tonic,  which  thus  transforms  the  original  twelve-bar  sen- 
tence into  one  of  eight  bars,  (ii)  This  is  followed  by  a  modified  repeti- 
tion of  the  first  two  phrases  of  the  original  sentence,  here  ending  on  a 
half-cadence  in  B  minor.  This  leads  directly  into  the  recapitulation  of 
the  first  section  of  the  subject,  which  commences  in  the  latter  key. 

Beyond  this  unusual  modification  of  key  for  its  first  two-bar  phrase, 
this  section  is  reproduced  almost  literally  in  the  keys  of  E  minor  and 
D  major,  which  correspond  to  those  in  which  it  was  originally  heard  in 
the  exposition  (see  page  142  (c),  sub-section  ii).  At  its  close,  however, 
the  sudden  introduction  of  an  inversion  of  the  chord  of  the  supertonic 
minor  ninth,  which  replaces  the  original  perfect  cadence,  leads  to  the 
repetition  of  the  final  three-bar  phrase  of  the  subject,  transposed  into  the 
key  of  the  tonic.  The  latter  phrase,  as  above  mentioned,  was  omitted 
in  the  recapitulation  of  the  second  section. 

(k)  The  codetta,  slightly  modified,  reappears  in  the  key  of  the  tonic. 

SECOND  MOVEMENT. 

(a)  This  is  the  third  instance  in  his  pianoforte  sonatas,  in  which 
Mozart  has  chosen  the  somewhat  unusual  key  of  the  dominant  as  the  key 
for  the  slow  movement.     See  also  Sonatas  VI  and  XVI,  and  refer  to  the 
second  movement  §a,  and  its  footnote  in  the  former  (page  36),  and  to 
§b,  paragraph  ii,  in  the  second  movement  of  the  latter  (page  129). 

(b)  Percy  Goetschius  describes  the  structure  of  this  movement  as  being 
in  "first  Rondo-form." t     See  also,  the  second  movement,  the  Rondo  Pol- 
onaise, in  the  Thematic  Scheme  of  Sonata  VI  (page  33). 

(c)  In  analysing  the  construction  of  this  portion  of  the  movement  in 
the  Thematic  Scheme,  we  have  not  classified  it  there  as  being  in  either 
binary  or  ternary  form,  we  have  merely  marked  the  final  phrase  as  return- 
ing to  one  of  the  phrases  of  Part  i,  without  specifying  which. 

*  See  page  142,  footnote  *  to  (c). 
t  "Lessons  in  Music  Form,"  by  P.  Goetschius. 


SONATA  NO.  XVIII. 


145 


Our  reason  for  this  omission  is,  that  the  design  of  these  first  sixteen 
bars  is  a  little  indefinite ;  for,  whilst  the  impression  conveyed  by  the  music 
is  decidedly  one  of  ternary  design*  (viz.,  of  statement,  digression  and  re- 
statement), the  returns  bars  13-16,  is  actually  more  akin  to  the  responsive, 
than  to  the  first,  phrase  of  the  opening  melody — a  characteristic  feature 
of  the  binary  form. 

The  design  of  this  passage  falls  therefore  under  the  category  of 
those  hybrid  forms,  to  which  we  have  already  called  particular  attention 
more  than  once  in  these  sonatas.  See  particularly  the  finale  of  Sonata 
VI  and  the  first  movement  of  Sonata  XL  That  the  final  of  the  four 
phrases,  as  in  the  case  of  the  Air  and  Variations  in  Sonata  XI,  is  to  such 
a  great  extent  a  reproduction  of  the  responsive  phrase  of  Part  i  is  doubt- 
less due  to  the  twofold  fact  that : 

(i)  The  two  phrases  of  Part  i  commence  alike;  and 

(ii)  It  is  necessary  to  bring  this,  the  final  phrase  of  the  whole  subject 

— in  similar  manner  to  the  final  phrase  of  Part  i — to  a  conclusion  with  * 

perfect,  instead  of  with  a  half,  cadence. 

(d)  Part  i  of  the  episode  consists  of  a  sentence  of  two  phrases  of  four 
and  six  bars'  length  respectively. 

The  first  phrase  ends  on  a  half -cadence  in  F  sharp  minor,  formed 
of  the  chord  of  the  augmented  sixth  resolving  on  to  dominant  harmony. 
The  second  phrase,  commencing  like  the  first,  modulates  in  the  second  bar 
to  D  major,  in  which  key  it  ends  on  a  full  close,  twice  cadentially  re- 
peated. 

Of  the  few  bars  constituting  Part  ii,  the  first  four  form  a  modulating 
sequence.  Starting  in  D  major,  this  passage  passes  incidentally  througn 
E  minor  to  F  sharp  minor,  in  which  key  the  section  closes  on  a  half- 
cadence,  bars  30-31,  followed  by  a  link  leading  to  Part  iii  (i.e.,  of  the 
episode).  This  is  a  repetition  of  Part  i,  with  modification  of  the  second 
phrase  to  close  in  the  original  key  of  F  sharp  minor.  A  link  of  three 
bars  founded  on  the  previous  scale  passages,  and  modulating  through 
D  minor  to  A  major,  leads  to  the  return  of  the  principal  subject. 

(e)  The  coda  is  founded  on  the  episode  with,  however,  reminiscences 
of  the  principal  subject  in  the  demisemiquaver  figures,  bars  6I1  and  64* 
and  at  the  final  cadence. 


*    Percy  Goetschius  specifically  writes  of  this  passage  as  being  in   "III  part 
song-form."     "  Lessons  in  Music  Form,"  by  Percy  Goetschius 

II 


146 


MOZART'S  PIANOFORTE  SONATAS. 
THIRD  MOVEMENT. 


(a)  In  this  movement  we  meet  with  yet  another  of  those  interesting 
examples  of  "mixed"  forms  which,  on  account  of  certain  exceptional 
features  they  contain,  can  be  viewed  as  being  written  in  one  or  the  other 
of  two  different  forms.     And,  in  accordance  with  our  practice  on  previous 
similar  occasions  in  this  work,  we  will  consider  this  movement  from  each 
of  the  two  standpoints  in  turn,  and  thus  realise  more  clearly  what,  respec- 
tively, are  the  exceptional  features  from  either  point  of  view. 

The  body  of  opinion,  in  so  far  as  we  have  been  able  to  obtain  it, 
seems  to  incline  to  the  view  that  the  movement  is  an  example  of  irregular 
sonata-form.  Both  Hadow  and  Percy  Goetschius  regard  it  as  such ;  and 
Banister,  whilst  analysing  it  as  a  Rondo,  remarks  of  the  episodical  por- 
tion which  follows  the  first  recurrence  of  the  subject  as  "being,  however, 
somewhat  of  the  nature  of  development,  passing  through  several  keys." 
He  continues :  "  Such  a  movement  as  this  may  almost  be  said  to  be  like 
a  first  movement,  with  the  repetition  of  the  subject  interpolated  between 
the  first  and  second  parts." 

The  exceptional  feature  in  this  movement  is  that  the  three  passages 
mentioned  below  all  occur  in  their  particular  juxtaposition  in  one  and  th*. 
same  movement. 

These  passages  are : 

(i)  The  second  entry  of  the  first  subject,  at  bar  65,  before  the  free 
fantasia. 

(ii)  The  free  fantasia;  and 

(iii)  The  recapitulation  of  the  second  subject  immediately  after  the 
free  fantasia. 

For  (a)  whilst  the  free  fantasia  is  characteristic  of  sonata-form,  and 
the  repetition  of  the  second  subject  in  the  above  particular  position — 
i.e.,  immediately  after  the  free  fantasia — is  also  occasionally  to  be  met 
with,  the  second  entry  of  the  first  subject  before  the  free  fantasia  is  very 
exceptional.  And 

(b)  On  the  other  hand,  whilst  the  last-named  feature — i.e.,  the  second 
entry  of  the  first  subject  at  the  end  of  the  exposition — is  an  essential  char- 
acteristic of  Sonata-Rondo  form,  it  is  unusual,  in  this  form,  for  the  epi- 
sode which  customarily   follows,  to  be  replaced,  as  here,  by  a  middle 
section  worked  entirely  on  previous  material ;  and  the  recapitulation  of 
the  second  subject  before  that  of  the  principal  subject  is  exceptional.     In 
order  to  obtain  a  still  clearer  conception  of  the  construction  and  contents 
of  the  movement,  we  will,  for  a  moment,  look  upon  it  from  one  further 


SONATA  NO.  XVIII. 


147 


standpoint,  viz.,  as  based  upon  the  older,  and  less  highly  developed, 
Rondo  form.  In  this  case,  not  only  will  those  passages  which  form  the 
characteristic  features  of  Rondo  form  and  sonata  form  severally,  immedi- 
ately become  apparent,  but  also  those  passages  which,  in  each  case,  are 
exceptional,  thus : 


*f  Principal  Subject  (first  entry) 
*  First  Episode     


t  (a)  Connecting_passage  =  Transition 


16-2-25' 
26-581 


j  f  (b)  Melody  in  Dominant 

j          (Repeated  in  the  latter  part  of  the  move* 
(,  inent  in  the  key  of  the  Tonic.)  J 

Link 

*  Principal  Subject  (second  entry) 

Second  Episode  (so  called),  often  known  as  the  long  episode    ... 
(This  is  not  an  episode,*  but  a  section  of  Development.-^) 

(  t  First  portion  developed  entirely  from  previ-  ~) 

ous  material       80-2—116' 

j  t  Repetition  of  melody  (b)  from  first  episode,  C 

(.          transposed  into  the  key  of  the  Tonic  117—1/101  ? 

First  Link,   extended          

*  Principal  Subject  (third  entry)     

Short  Coda 


117-1491 ; 


Bars. 

1-161 
16-2-581 


582-64 

65-801 

80-2-1491 


1492-162 
163-1781 
178-189 


Characteristics  of  Rondo-Form 
marked  *. 


(i)   The   three   entries   of  the   principal 
subject  with  intervening  matter. 


(ii)    The  second  episode  (so-called)  is  by 
far  the  longer  of  the  two. 


Characteristics  of  Sonata-Form 
marked  t- 

The  points  more  especially  to  be  noted 

are  that: 

(i)  The  melody  (b)  which  appears  first  in 
the  key  of  the  dominant  reappears  to- 
wards the  end  of  the  movement,  trans- 
posed into  the  key  of  the  tonic.  Its 
nature  is  thereby  transformed  from 
that  of  an  episode  into  that  of  a  second 
subject. 

(ii)  Bars  80-116  contain  nothing  new, 
but  are  developed  entirely  from  previ- 
ously heard  material.  They  therefore 
form  a  section  of  development,  or  free 
fantasia,  and  not  an  episode.]; 


I  At  the  same  time,  we  would  here  call  the  student's  attention  to  the  facts  that : 

(i)  A  theme  which  is  to  be  repeated,  i.e.,  a  subject — is,  as  a  rule,  a  theme  of 
more  importance  than  one  which  only  occurs  once. 

(ii)  In  the  episodical  portions  of  Rondos  by  composers  of  the  Haydn-Mozart 
period,  we  frequently  meet  with  references  to  the  principal  subject  and,  in  the  later 
episodes,  with  repetition  and  development  of  material  which  has  already  been  heard 
in  the  earlier  emsodes. 


148 


MOZART'S  PIANOFORTE   SONATAS. 


When  viewed  as  in  sonata-form,  a  fresh  and  interesting  aspect  of 
the  movement  reveals  itself,  relating  to  the  history  and  evolution  of  this 
form.  For,  thus  regarded,  it  is  the  first  example  in  Mozart's  pianoforte 
sonatas  of  a  sonata-allegro  movement  in  which  the  ex-position  .is  not 
-repeated. 

Again,  as  in  the  first  movement,  it  will  be  of  interest  to  quote 
Hadow's  remarks  relative  to  this  movement,  in  which  he  points  out  that 
this  omission  is  due  to  the  unusual  opening  of  the  free  fantasia  to  which 
we  have  above  referred,  viz.,  its  commencement  with  a  second  entry  of  the 
first  subject. 

He  is  writing  on  the  subject  of  the  gradual  decline  of  the  custom 
of  repeating  the  exposition ;  he  remarks  : 

*  From  the  beginning  it  appears  to  have  been  not  an  essential  point  of  structure, 
but  a  concession  to  the  weakness  of  the  audience ;  and  so  as  musical  education 
advanced  composers  came  to  see  that  it  was  only  necessary  where  the  exposition  was 
unusually  difficult  or  elaborate,  and  that  in  other  cases  their  subjects  might  claim 
to  be  recognised  after  a  single  presentation.  Now,  among  the  great  masters  of  the 
sonata,  whenever  the  repetition  is  omitted,  it  will  be  found  that  the  free  fantasia 
falls  into  one  of  three  classes  (to  the  first  of  which  the  present  example  belongs), 
viz.  : 

(a)  It  opens  with  a  repetition  of  the  first  subject,  with  or  without  thematic 
variation,  but  in  either  case  clearly  recognisable  ....  Then  having,  so  to  speak, 
given  us  a  partial  repeat,  it  goes  on  to  develop  the  separate  phrases  of  the  expose 
tion  in  any  manner  which  the  composer  chooses  to  adopt,  f 

Prout  also  analyses  this  movement  very  fully  in  his  volume,  "Ap- 
plied Forms."  He  refers  to  it  as  "a  not  unusual  compromise  between 
the  sonata  and  rondo  forms,"  but  considers  that  whilst  partaking  of 
the  characteristics  of  both,  it  has  more  of  the  rondo  than  of  the  sonata. 
He  analyses  the  first  part  of  the  movement — i.e.,  up  to  the  end  of  the 
second  entry  of  the  principal  subject — as  an  exposition  in  regular  rondo- 
sonata  form,  after  which  he  continues  : 

' '  But,  from  this  point,  it  more  resembles  a  sonata  movement.  It  contains  nothing 
that  can  be  called  episode ;  all  that  follows,  down  to  the  recapitulation,  is  thematic 
development.  We  know  already  that  cases  of  this  kind  are  not  uncommon  in  the 
modern  rondo  form  ;  but  the  peculiarity  here  is,  that  the  first  subject  does  not  appear 
at  all  at  the  beginning  of  the  recapitulation — perhaps  because  it  has  been  almost 
continuously  present  in  the  developments.  The  recapitulation  commences  with  the 
second  subject,  and  the  first  is  not  heard  again  till  the  coda.  It  would  be  possible  to 
regard  this  as  one  of  those  cases  in  which  the  second  subject  precedes  the  first  in  the 
recapitulation ;  but  this  assumption  will  not  make  the  form  a  regular  sonata  form,  as 
we  still  have  the  additional  entry  of  the  first  subject  at  the  end  of  the  exposition." 

*  "  Sonata  Form,"  by  W.  H.  Hadow. 

f  Elsewhere,  Hadow  refers  to  movements  in  which  this  exceptional  treatment 
of  the  free  fantasia  occurs,  as  being  written  in  an  "experimental  type  of  ternary 
form  occasionally  used  by  Mozart." 


SONATA  NO.  XVIII. 


149 


An  altogether  different  analysis  from  either  of  the  above  is  given  by 
Dr.  Fisher.  His  view  is  that  the  movement  contains  no  middle  section- 
he  therefore  regards  it  as  being  written  in  modified  sonata-form,  and 
analyses  it  as  follows  : 


Exposition, 

First  subject  to 
Bridge-passage  to 
Second  subject  to 
Codetta  to 
Bridge-passage  to 


Bar. 

16 
25 

50 
581 
64 


Eecapitulation. 

First  subject  to 
Bridge-passage  to 
Second  subject  to 
Coda  to 


Bar. 

80 
116 
141 
189 


(b)  The  first  subject  lasts  for  sixteen  bars,  and  is  in  four-bar  rhythm. 
The  close  of  the  second  phrase  is  interesting,  and  should  be  specially 
noted,  as  it  implies  a  passing  modulation  to,  and  perfect  cadence  in,  the 
key  of  the  dominant.     The  chord  of  the  seventh  is,  however,  incomplete, 
the  raised  third,  the  distinctive  note  of  the  new  key,  being  omitted.    Bars 
9-12  are  a  repetition  of  the  first  phrase,  to  which,  however,  a  new  accom- 
paniment of  semiquaver  figures  is  added,  which  forms  a  counter-subject 
in  the  bass  (compare  with  the  passage,  bars  99,  etc.)     In  the  final  phrase 
the    semiquaver    figures   are    transferred    to    the    treble.      The    melodic 
sequence  in  bars  1-4,  and  again  between  bars  5  and  6,  should  be  noted. 

(c)  The  transition  commences  on  a.  short  tonic  pedal.     It  is  a  very 
simple  passage,  entirely  in  the  key  of  the  tonic,  in  which  it  ends  on  a 
half -cadence. 

(d)  The  first  section  of  the  second  subject  is  founded  on  the  opening 
motive  of  the  first  subject.     It  commences,  in  bar  26,  with  the  motive 
taken  in  the  bass,  accompanied  in  the  treble  by  a  new  counter-subject. 
Bars  28-29,  modulating  to  B  minor,  repeat  bars  26-27  sequentially,  after 
which  there  is  a  slight  development  of  foregoing  figures  until  the  half- 
cadence  in  A  major  (the  augmented  sixth  resolving  on  to  the  dominant 
chord)  in  bars  33-34,  is  reached.     In  the  latter  bar,  and  overlapping  the 
foregoing  phrase,  an  interesting  passage  commences.     It  is  written  over  a 
pedal,  with  the  motive  transferred  to  the  treble,  and  imitated  by  inverse 
movement  in  the  tenor.     The  sequence  (bars   34-38),   in  which  the  two 
parts  are  consequently  moving  in  contrary  motion  to  each  other,  should 
be  noted.     The  pedal  ends  in  bar  40,  the  section,  however,  continuing 
with  an  arpeggio  and  broken  chord  passage  as  far  as  the  inverted  cadence, 
bar  441. 

(e)  This  passage  contains  nothing  very   definitely   new.     It  rather 
gives  the  impression  of  being  a  development  of  the  latter  bars  of  the 
previous  section.     It  is  quite  possible,  therefore,  that  some  theorists  would 


150  MOZART'S  PIANOFORTE  SONATAS. 

not  consider  it  as  forming  a  separate  section  to  itself.  Prout,  however, 
marks  it  as  such,  and  the  syncopated  melody,  combined  with  the  modu- 
lating sequence,  bars  46-48,  though  evidently  founded  on  the  descending 
passage  in  bars  42-43,  gives  to  it  great  freshness,  and  forms  its  distinctive 
feature. 

(f)  This  section,  also,  is  founded  on  a  descending  scale  passage.    The 
second  phrase  is  a  variation  of  the  first,  closing  on  a  full,  instead  of  on 
a  half,  cadence.* 

(g)  This  passage  on  a  pedal  modulates  back  to  the  key  of  the  tonic, 
and  leads  to  the  second  entry  of  the  first  subject. 

N.B. — The  exposition  m  this  movement  is  perfectly  regular,  whether 
the  movement  be  regarded  as  in  sonata,  or  in  sonata-rondo  form.  In  the 
former  case,  the  exposition  ends  with  the  passage  (g)  in  bar  64 ;  in  the 
latter  case,  in  bar  80,  after  the  succeeding  entry  of  the  first  subject. 

(h)  As  above  mentioned,  in  §a,  this  portion  of  the  movement  does 
not  form  an  episode,  but  is  developed  entirely  from  material  already 
heard  in  the  exposition.  The  latter  part  of  it,  commencing  in  bar  95,  is 
the  more  important. 

The  section  opens  with  a  lengthened  version  of  the  transition,  com- 
mencing in  its  original  key,  modulating,  however,  to  the  tonic  minor,  and 
thence  to  F  major  and  A  minor,  Note  that  854-863  is  in  sequence  with 
844-853.  Commencing  in  bar  88,  a  new  modulating  sequence,  with  the 
semiquaver  figures  transferred  to  the  bass,  is  interpolated,  before  the 
passage  is  brought  to  a  conclusion  with  a  repetition  of  the  final  bars  of 
the  original  transition.  These  are  transposed  into  F  major,  in  which  key 
the  second  portion  of  the  free  fantasia  commences  in  the  following  bar. 
The  sequence  (88-90)  is  founded  on  the  one  occurring  in  the  second  section 
of  the  second  subject  (46-48),  and  passes  through  the  keys  of  A  major, 
G  major,  F  major,  and  D  minor  to  G  minor.  It  should  be  noted  that  in 
each  of  the  above  changes  of  key,  whether  to  the  major,  or  to  the  minor, 
mode,  the  modulation  is  effected  through  an  inversion  of  the<chord  of  the 
dominant  minor  ninth.  The  second  portion  of  the  section  is  based  on 
the  opening  motive  of  the  movement.  It  starts  with  the  first  bars  of  the 
second  subject  (26-29)  with  the  parts  inverted,  and  continues  with  the 
second  part  of  the  first  subject,  similarly  treated,  the  latter  modulating 
from  G  minor  to  A  minor.  In  bars  103-107,  the  above  motive  is  worked 
with  imitation  between  the  treble  and  bass  at  the  fifth  below,  the  entries 

*  Dr.  Fisher  marks  this  passage  as  codetta,  and  the  following  one  as  a  bridge- 
passage  leading  to  the  recapitulation  (see  §  (a)  supra). 


SONATA  NO.  XVIII.  151 

in  both  voices,  always  overlapping  the  imitated  part.*  The  whole  pas- 
sage forms  a  rising  sequence.  In  107,  the  figure  of  imitation  is  modified, 
the  latter  portion  of  it  being  omitted,  and  replaced  in  the  following  bars 
by  a  return  to  the  bold  arpeggio  figure  of  accompaniment.  The  section 
closes  with  an  exact  reproduction  of  the  final  bars  of  the  original  tran- 
sition which  leads  to  the  recapitulation  of  the  second  subject,  transposed 
almost  literally  into  the  key  of  the  tonic  (II7-I4Q1). 

(j)  As  we  have  previously  had  occasion  to  remark  in  this  work,  the 
real  coda  in  sonata  movements  commences,  strictly  speaking,  at  the  point 
at  which  the  recapitulation  of  the  exposition  ceases,  t  Under  certain  con- 
ditions, however,  the  coda  is  often  considered  to  commence  with  the  im- 
mediately preceding  repetition  of  the  original  codetta.  And  though,  in 
this  movement,  the  special  conditions  referred  to  in  the  earlier  movement 
are  not  present,  and  the  real  coda  (or,  at  least,  its  most  prominent  and  im- 
portant portion)  commences  in  bar  163,  with  the  third  entry  of  the  first  sub- 
ject, we  still  find  evidence  that  a  difference  of  opinion  exists  as  to  which 
is  the  exact  starting  point  of  this  passage.  Granted  for  a  moment  that 
the  above  entry  of  the  first,  or  principal  subject  ( 163-1 781)  is  the  third 
entry  of  a  Rondo,  the  short  passage  which  follows  this  entry  would,  of 
course,  form  the  entire  coda.  But  there  are  at  least  three  different  points 
at  one  or  other  of  which  the  commencement  of  this  passage  is  marked  by 
those,  who  look  upon  the  movement  as  being  written  in  sonata  form. 

These  are : 

TABLE  XIII. 


(i) 


In  bar  163,  with  the  third  entry  of  the  first  subject  ; 

or 


(a)  in  bar  149,  with  the  entrv  of  the  preceding  lengthened  recapitulation  of 
the  original  codetta.     This  ends  on  a  dominant  pedal. 


or 


(b)  in  bar  141,  where  the  recapitulation  of  the  passage  commences  which,  in 
the  exposition,  Dr.  Fisher  considers  as  forming  the  codetta. 


Before  proceeding  further,  it  will  be  interesting, ^ as  well  as  instruc- 
tive, to  compare  the  close  of  this  movement  (i.e.,  from  bar  141  to  the  end) 


*  Banister  remarks  of  such  overlapping  "  that  it  is  of  the  very  essence  of  vivid 
imitation." 

f  See  Sonata  X,  first  movement  (k),  page  65. 


152 


MOZART'S  PIANOFORTE  SONATAS. 


with  the  corresponding  portion  of  the  finale  in  Beethoven's  Sonata  in 
D  minor,  Op.  31,  No.  2  (i.e.,  from  bar  295  to  the  end).  In  the  latter,  the 
commencement  of  the  coda  is  variously  marked  as  taking  place  (a)  *'n 
bar  295  ;  (b)  in  bar  311;  and  (c)  in  bar  350.  We  shall  find  from  this  com- 
parison that  the  construction  of  the  closing  portion  of  each  of  the  two 
movements  is  somewhat  analogous,  and  that  in  each  case  the  principles 
underlying  the  differences  of  opinion  as  to  the  point  at  which  the  coda 
commences,  are  the  same.  In  the  excerpt  from  Beethoven's  finale  the 
points  of  construction  to  be  noted  are  that : 

TABLE  XIV. 


(i) 


It  commences  with  the  recapitulation  of  the  concluding  section  of  the 
second  subject,  after  which  a  repetition  of  the  short  original  codetta  fol- 
lows, both,  of  course,  transposed  into  the  key  of  the  tonic ; 


this  repetition  of  the  codetta  leads  into  a  recapitulation  of  the  opening  bars 
of  the  free  fantasia  in  exactly  similar  manner  to  that  in  which  the  flrst 
codetta  leads  into  the  original  free  fantasia; 


the  recapitulation  of  the  free  fantasia — the  latter  portion  on  a  dominant 
pedal — leads  into  the  re-entry  of  the  first  subject  (in  har  350)  where  the 
latter  appears  varied  and  emphasised  by  the  addition  of  an  inverted  pedal. 


According  to  the  view  of  the  authority  from  whose  analysis  of  the 
Beethoven  finale  we  quote,  the  coda  to  the  above  movement  commences 
with  the  re-entry  of  the  first  subject,  in  bar  350. 

And  this  emphatic  re-entry  is  so  important,  so  manifestly  the  pith  of 
the  coda,  that,  to  our  mind,  the  above  analysis  is  by  far  the  most  satis 
factory  of  the  three  methods  to  which  we  are  here  referring. 

On  the  other  hand,  however,  Dr.  Harding  and  Dr.  Fisher  concur  in 
marking  the  coda  as  commencing  with  the  recapitulation  of  the  codetta 
in  all  movements  in  which  such  recapitulation  occurs,  though,  with  regard 
to  this  particular  example  of  Beethoven's,  their  views  differ  as  to  which 
is  the  starting  point  of  the  original  codetta.*  They  respectively  mark  it 
in  bars  68  and  79,  and  consequently  the  final  coda  is  marked  as  com- 
mencing in  bars  295,  and  311,  respectively. 


*  Dr.  Harding,  in  fact,  never  makes  use  of  the  term  codetta.  He  calls  all  such 
passages  coda,  whether  they  occur  at  the  end  of  the  exposition,  or  at  the  close  of  the 
entire  movement.  "  Analysis  of  Form,"  as  displayed  in  Beethoven's  pianoforte  son- 
atas, by  H.  A.  Harding. 


SONATA  NO.   XVIII.  153 

If  we  now  examine  the  construction  of  the  concluding  portion  ot 
Mozart's  finale  we  shall  find  that,  like  in  the  above  example  of  Beet- 
hoven's, it  commences  with  the  recapitulation  of  the  final  section  of  the 
second  subject,  followed  by  a  literal  reproduction  of  the  opening  bars 
of  the  original  codetta,  transposed  into  the  key  of  the  tonic.  At  this 
point,  however,  the  continuation  of  the  passage  so  far  differs  from  the 
example  of  Beethoven's,  in  that  the  repetition  of  the  codetta,  instead  oj 
leading  into  a  recapitulation  of  the  opening  bars  of  the  free  fantasia, 
prior  to  the  return  of  the  first  subject,  is  itself  developed  and  extended. 
and  leads  direct  into  the  re-entry  of  this  subject.* 

For  similar  reasons,  therefore,  to  those  which  incline  us  to  agree  with 
the  analysis  of  the  Beethoven  finale  first  given  above,  so,  in  the  case  of 
the  Mozart  finale,  do  we  prefer  the  first  method  of  analysis  shown  in 
Table  XIII,  this  being  in  accordance  with  a  strictly  parallel  view,  which 
considers  the  coda  to  commence  with  the  re-entry  of  the  first  subject. 

In  ii  (b)  in  the  same  Table  we  have  given  Dr.  Fisher's  view  as  to  the 
point  at  which  the  coda  commences,  the  difference  between  the  two  ana- 
lyses (ii  a  and  ii  b)  corresponding,  of  course,  to  a  similar  difference  of  view 
as  to  the  starting  point  of  the  original  codetta 


*  That  this  passage  is  simply  a  lengthened  version  of  the  original  codetta  is 
proved  by  a  comparison  of  the  opening,  and  of  the  final,  bars  of  the  two  passages. 


(a),  SONATA  No.  XIX,  IN  F  MAJOR  (K.  Appendix  III,  No.  135). 

THEMATIC  SCHEME. 

Allegro 


7n  £100  movements. 


FIRST  MOVEMENT— "ALLEGRO,"  IN  F  MAJOR.     SONATA  FORM. 


EXPOSITION. 


(b)  First  Subject  in  Tonic. 

(c)  Bridge-p  assage      or 
Transition. 

{Alternative    Analy-) 
sis. 
First     Subject     1-  V 
241. 
Transition    24-1-31 J 
Second    Subject   in   C 
major  (Dominant). 
§f  1.32-45.  ^ 

§  2.  46-541. 
§  3.  542-641.  I 

§  4.     (or    Codetta) 
64-2-78.  J 

Double  bar  and  repeat. 


(e) 
(f) 
(g) 


Bars. 


1-161 
16-2-31 


32-78 


FREE  FANTASIA. 


(h)  Episode. 

Bars  79-941. 


Section     of      De- 
velopment. 

Bars  94-2-118. 


(J) 


RECAPITULATION. 

First  Subject  in  Tonic. 
Bridge-p  assage  or 
Transition. 

{Alternative    Analy-~\ 
sis.  ( 

First  Subject  119- C 
1421.  ) 

Transition.  142-1-149 
Second  Subject  in  F 
major  (Tonic). 
'§1.  150-163. 

2.  164-1721. 

3.  1722-1821. 

§  4.     (or    Codetta) 

182-2-196. 
Double  bar  and  repeat. 


Bars. 


119-1341 
134-2-149 


150-196 


(a)  SECOND  MOVEMENT—"  ALLEGRETTO,"  IN  F  MAJOR.     OLD  RONDO  FORM. 

__Bars. 
Principal  Subject  (first  entry) 

Eight-bar  sentence  in  Tonic.   ... 
Episode  I,  in  C  major  (Dominant) 

Link  

Principal  Subject  (second  entry)  

Episode  II,  in  D  minor  (Relative  minor) 
Link 


Principal  Subject  (third  entry) 
Coda       


To  81 
82-161 
162-201 
202-281 
282-481 
482-51 
522-601 
602-75 


text. 


•  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 


t  The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject 


SONATA  NO,   XIX.  155 

FIRST  MOVEMENT. 

(a)  Neither  this  sonata  nor  the  following  one  in  B  flat  major  is  in- 
cluded in  the  chronological  portion  of  Kochel's  Catalogue,  but  they  are 
both  placed  in  the  third  appendix.*  The  reason  for  this  is  that  neither 
of  the  two  sonatas  is  original  in  the  form  her-j  presented.  In  the  case  of 
No.  20,  in  fact,  the  opening  Allegro  and  the  Menuetto  were  not  written  by 
Mozart,  and  the  remaining  two  movements,  like  the  two  contained  in  thi.s 
sonata,  are  not  only  arrangements  of  previously  written  movements,  but 
they  are  severally  taken  from  different  sources. 

The  opening  Allegro  of  this  sonata,  for  instance,  is  an  arrangement 
of  a  movement  from  a  sonata  for  piano  and  violin  (Kochel  No.  547), 
whilst  the  Rondo  is  also  an  arrangement — or,  more  strictly  speaking,  it  is 
virtually  a  transposition — of  the  finale  of  the  easy  Sonata  in  C  major, 
for  pianoforte  alone,  No.  16,  in  this  volume  (Kochel  No.  545).  Both  the 
original  works  are  dated  June  26,  1788,  but  when,  and  by  whom,  these 
adaptations  were  made  is  unknown.  Hadow  does  not  think  that  this 
work  was  written  as  a  sonata  at  all.  He  remarks  :  "The  last  movement 
is  only  a  variant  of  the  Finale  in  C  (written  in  1788),  and  may  have  been 
tacked  on  by  a  pupil — or  conceivably  by  Mozart  himself — to  a  first  move- 
ment which  he  had  written  and  abandoned." 

Of  the  two  adapted  movements  in  Sonata  XX,  the  Andante  is  an 
arrangement  of  an  Andante  from  a  Pianoforte  Concerto  in  B  flat  major 
(Kochel  No.  450),  composed  in  March,  1784,  whilst  the  Rondo  is  con- 
structed from  three  different  Rondos  from  as  many  pianoforte  concertos 
in  this  key  (Kochel  Nos.  450,  456  and  595). 

Hadow  points  out  that  this  sonata  is  a  "  Pasticcio,"  a  species  of  work 
which,  at  one  time,  was  a  good  deal  in  vogue,  and  to  which  some  of  the 
greatest  composers  of  the  period  openly  contributed.  The  scope  of  the 
work  to  which  the  word  was  applied  was  gradually  extended,  but  it  ori- 
ginally signified :  "  A  species  of  lyric  drama  composed  of  airs,  duets, 
a'nd  other  movements,  selected  from  different  operas  and  grouped 
together,  not  in  accordance  with  their  original  intention,  but  in  such  a 
manner  as  to  provide  a  mixed  audience  with  the  greatest  possible  number 
of  favourite  airs  in  succession.  It  is  not  at  all  necessary  that  the  move- 
ments contained  in  a  Pasticcio  should  all  be  by  the  same  composer.  As 
a  general  rule  they  are  not;  and  no  attempt  is  made  to  ensure  uniformity, 
or  even  consistency,  of  style."!  Further  on,  the  article  continues : 

*  This  contains  "Die  Ubertragene   Kompositionen  "    =   arrangements. 
f  From  the  article  on  the  "  Pasticcio,"  by  W.  S.  Rockstro,  in  Grove's  "  Dictionary." 

1 


156  MOZART'S  PIANOFORTE  SONATAS. 

"  It  is  true  that  during  the  greater  part  of  the  eighteenth  century,  when 
the  Pasticcio  enjoyed  its  highest  degree  of  popularity,  some  of  the  greatest 
masters  then  living  patronised  it  openly,  and  apparently  without  any 
feeling  of  reluctance;  but  it  never  inspired  any  real  respect,  even  in  its 
brightest  days,  and  the  best  examples  were  invariably  short-lived,  and 
incapable  of  resuscitation." 

The  authorship  of  this  sonata  is  variously  ascribed.  Kochel  thinks 
that  Herr  Gustav  Nottebohm  has  good  grounds  for  attributing  the  ar- 
rangement to  Herr  A.  E.  Muller,  for,  in  one  of  the  early  editions  printed 
by  Peters  in  Leipzig,  it  appears  as  "  Senate  pour  le  Clavecin  ou  Piano 
Forte  comp.  par  A.  E.  Muller.  GEuvre  XXVI." 

A  note,  however,  added  to  the  above  is  to  the  effect  that  the  sonata, 
which  was  first  printed  by  the  firm  of  Thonus  under  Mozart's  name,  was 
afterwards  brought  out  by  another  firm  at  Vienna  and  Mayence  as  a  post- 
humous work  of  the  same  composer's. 

(b)  Although  opinions  differ  as  to  whether  the  first  subject  in  this 
movement  ends  in  bar  16,  or  in  bar  24 — in  other  words,  as  to  whether  the 
eight-bar  passage,  i6'2-241,  on  dominant  pedal,  is  the  final  portion  of  this 
subject,  or  the  commencement  of  the  transition — the  general  opinion 
seems  to  be  that  the  subject  ends  in  bar  16.  Hadow  remarks:  "No  doubt 
the  next  eight  bats  could  be  analysed  as  a  codetta,  but  they  feel  more 
to  me  like  the  beginning  of  the  transition.  It  is  one  of  those  '  frontier  * 
problems  which  are  common  in  sonata-form." 

Another  authority  writes  with  regard  to  this  same  question  :  "  It  is 
neither  easy  to  say  where  the  first  subject  ends  nor  to  give  conclusive 
reasons.  At  bar  16  we  get  the  very  definite  cadence  in  the  tonic  and  a 
fitting  finish  to  a  definite  short  theme  of  easily  remembered  and  strongly 
marked  rhythmic  character  such  as  we  associate  with  a  first  subject.  I  like 
to  analyse  my  first  subject  as  one  definite  idea,  and  for  this  reason  I 
should  end  it  at  bar  16.  Bars  16-24  are  in  tonic  key  and  end  with  a  per- 
fect cadence,  and  are  recapitulated  intact,  so  I  cannot  quarrel  with  those 
who  choose  to  include  it  in  Subject  I,  but  I  prefer  to  consider  it  as  a  tune 
belonging  to  the  bridge,  which  would  thus  have  one  section  in  tonic  and 
another  modulating." 

Bars  1-16  form  a  sentence  in  four-bar  rhythm  of  very  usual  construc- 
tion, the  third  phrase  being  a  repetition  of  the  first,  and  the  fourth  phrase 
a  repetition  of  the  second,  modified  to  close  with  a  full,  instead  of  with 
a  half,  cadence  in  the  tonic. 

The  passage  (bars  16-23)  would  be  generally  recognised  and  described,  as  being 
written  over  a  dominant  pedal.  As,  however,  the  only  chords  which  accompany  it 
are  those  of  the  tonic  and  dominant,  to  both  of  which  the  bass-note  C  belongs,  the 


SONATA  NO.  XIX.  157 

passage,  according  to  Prout,  cannot  correctly  be  so  designated.  He  defines  a  pedal 
as  a  note  sustained  by  one  part  (generally,  though  not  invariably,  the  bass) 
through  a  succession  of  harmonies  of  some  of  which  it  does,  and  of  others  it  does 
not,  form  a  part."  Some  authorities,  however,  do  not  make  this  restriction. 

(c)  Bars  24-31  are  characteristic  of  the  transition  of  the  period. 
The  first  three  bars  form  a  descending  tonal  sequence,  after  whicti 

the  semiquaver  figures  are  transferred  to  the  bass  and  the  passage  ends 
on  a  half-cadence  in  the  tonic,  i.e.,  on  the  chord  of  C  major  (the  dom- 
inant). In  the  following  bar,  this  chord  is  repeated  as  tonic  of  the  new 
key  in  which  the  second  subject  enters. 

(d)  The  first  section  of  the  second  subject  opens  with  a  four-bar 
phrase  modulating  to  D   minor.     The  second  phrase,  commencing   one 
degree  lower,  is  in  sequence  with  it,  and  modulates  back  to  C  major. 
Ears  40-41  are  repeated  varied  in  42-43,  and  are  followed  by  a  further 
two  bars  which  end  on  a  half -cadence  in  the  dominant.* 

(e)  The  second  section  consists  of  one  sentence  ending  with  full  close 
in  the  dominant.     Its  second  phrase  is  an  inversion  of  the  first,  the  two 
phrases  overlapping  in  bar  50. 

It  should  be  noted  that  the  only  chords  which  accompany  the  sus- 
tained dominant  in  the  treble  of  the  first  phrase  are  the  tonic  and  dom- 
inant of  its  own  key,  to  both  of  which  it  belongs.! 

(f )  This  section  consists  of  two  five-bar  phrases,  of  which  the  second 
is  a  repetition  of  the  first,  with  the  opening  bars  inverted,  and  the  remain- 
ing bars  repeated  an  octave  lower. 

According  to  one  authority,  these  two  sections  (i.e.,  from  bar  46  to  64) 
are  marked  as  forming  one  section  only,  and  the  following  section  (the 
fourth)  is  marked  codetta. 

(g)  The  fourth  section  is  a  very  important  one,  as  the  greater  part 
of  the  free  fantasia  is  founded  on  it.     It  consists  of  an  eight-bar  sen- 
tence prolonged  by  cadential  repetitions  to  fourteen  bars.     Momentary 
suggestions  of  its  subdominant  key  such  as  we  meet  with  here  are  often 
incidental  to  the  last  section  of  the  second  subject.     Percy  Goetschius 
refers  to  the  cadence,  bars  67-68,  as  a  "concealed"  cadence. 

(h)  The  second  part  of  this  movement  opens  with  a  short  episode  in 
the  key  of  the  dominant.  Mozart  seems  to  have  been  very  fond  of  in- 
cluding such  episodes  in  his  sonata-movements,  for  we  have  already  met 
with  several  instances  of  them  in  these  sonatas. J 


*  See  Sonata  III,  third  movement,  footnote  to  (k),  page  20. 

f   See  supra   §   b,  last  paragraph. 

I  See  Sonata  V,  first  movement  (f),  paragraph  ii ;  No.  VI,  first  movement,  No. 
VIII,  second  movement,  No.  X    last  movement ;  and  No.  XII,  first  movement,  etc. 


158  MOZART'S  PIANOFORTE  SONATAS. 

This  one  lasts  for  sixteen  bars,  and,  like  the  first  subject,  is  in  four- 
bar  rhythm,  with  parallel  first  and  third,  and  second  and  fourth,  phrases. 
In  this  instance,  however,  besides  the  necessary  modification  at  the  final 
cadence,  the  second  half  of  the  sentence  has  a  florid  variation  in  the 
accompaniment.  The  episode  closes  in  94,  and  in  the  same  bar  the  real 
section  of  development  commences. 

This  is  worked  entirely  on  the  fourth  section  of  the  second  subject, 
and  modulates  through  C  minor  and  G  minor  to  D  minor,  in  which  key 
a  dominant  pedal  starts,  which  continues  to  bar  109.  During  the  last 
bar  of  the  pedal  the  music  modulates  and  a  return  is  made  to  F  major  (on 
the  dominant  seventh,  in  which  key  the  section  closes)  through  F  minor, 
the  tonic  minor.  Note  that  bar  103  forms  the  chord  of  the  augmented 
sixth  in  D  minor;  bar  no,  the  chord  of  F  minor,  vii°7b ;  and  that  both  in 
bars  112  and  113  we  find  two  instances  of  the  last  inversion  of  the  dom- 
inant eleventh  in  the  latter  key,  in  its  derivative  form,  ii°7d. 

(j)  See  Sonata  II,  first  movement  (1),  page  9. 

SECOND  MOVEMENT. 

(a)  As  this  movement  has  already  been  fully  analysed  in  its  original 
form  as  the  finale  of  Sonata  XVI,  no  further  remarks  are  needful  beyond 
the  details  of  construction  and  key  given  in  the  Thematic  Scheme. 


(a),*  SONATA  No.  XX,  IN  B  FLAT  MAJOR  (K.  Appendix  III,  No.  136). 

THEMATIC  SCHEME. 


Allegro  moderato 

^p=5=^E 


In  four  movements. 


FIRST  MOVEMENT  —  "ALI 
EXPOSITION. 

,EGRO  M 
Bars. 

ODERATO,"  IN  B 
FREE  FANTASIA. 

FLAT  MAJOR.     SONATA 
RECAPITULATION. 

FORM. 
Bars. 

(b)  First  Subject  in  Tonic. 
(c)  Transition. 
Second    Subject    in    F 
major   (Dominant). 
(d)f/§  1.  32-3-42L  \ 
(e)    \§  2.    42-2-531.  J 
(f)    Codetta. 
Double  bar  and  repeat. 

To  81 
8-3-32 

32-3-531 
53-1-57 

(g)  Bars  58-843. 

First  Subject  in  Tonic, 
(h)  Transition. 
Second    Subject  ^  in    B 
flat  major  (Tonic). 
f§  1.  107-3-1171.  1 
X§  2.  117-2-1281.  J 
Codetta. 

84-3-921 
92-3-1073 

107-3-1281 
128-1-132 

(a)  SECOND  MOVEMENT— "  ANDANTE,"  IN  E  FLAT  MAJOR  (KEY  OF  THE  SUBDOMINANT). 
TEMA  WITH  THREE  VARIATIONS. 


(b)  TEMA  AND  EACH  OP  THE  VARIATIONS.    BINARY 

FORM. 

TEMA 

(c) 
VAR.  I. 

(d) 
VAR.  II. 

(e) 
VAR.  Ill 

Part  I. 
Eight-bar  sentence  in  E  flat  major  (Tonic) 
flat  major  (Dominant)     .                        .  . 

and  B 

Bars. 

1—8 

Bars. 

17-24 

Bars. 

33—40 

Bars. 

49-56 

Double  bar  and  repeat. 
Part  II. 
Eight-bar  sentence  in  Tonic      
Double  bar  and  repeat. 
Excepting  in  Variation  III,  where  Part  II 
longed  to  11  bars,  and  is  not  repeated. 

is  pro- 

9-16 

.»£";-•«*' 

25-32 

41-48 

57-67 

THIRD  MOVEMENT  —  (a 
PART  I. 

)  MENU] 
Bars. 

STTO  AND  TRIO.     MINU 
PART  II. 

ET  AND 
Bars. 

TRIO  FORM. 
PART  III. 

(b)    MENUETTO    IN    B  FLAT 

(b)  TRIO  IN  E  FLAT  MAJOR 

MAJOR  (Tonic). 

(Subdominant). 

TERNARY  FORM. 

TERNARY  FORM. 

(c)  Part  i  : 

(f)    Part  i: 

Eight-bar  Sentence  in 

Eight-bar  Sentence  in 

Menuetto 

Tonic. 

To  8 

E  flat  major. 

To  8 

Da  Capo 

Double  bar  and  repeat. 

Double  bar  and  repeat. 

(d)  Part  ii  : 

Part  ii: 

Modulating        passage 
ending    on    Dominant 

Modulating        passage 
ending  on   perfect  ca- 

pedal. 

83-251 

dence  in  B  flat  major. 

83-161 

(e)  Part  iii  : 

Part  iii: 

Repetition   of    Part   i, 

Repetition  of  Part  i. 

16-1-24 

lengthened  to  ten  bars. 

253-35 

Double  bar  and  repeat. 

Double  bar  and  repeat. 

*  These  index-letters  bear  reference  to  paragraphs  correspondingly  marked,  which  occur  in  the  subsequent 
text. 

t  The  symbol  §  is  here  employed  to  denote  a  section  of  a  subject. 


i6o 


MOZART'S  PIANOFORTE  SONATAS. 


FOURTH  MOVEMENT—"  RONDO  ALLEGRO,"  IN  B  FLAT  MAJOR,     (a)  OLDER  RONDO 

FORM. 

Bars. 


(b)  Principal  Subject  in  Tonic  (first  entry) 1—401 

Episode  I         40-1-89 

(  (c)  (i)  Transitional   passage,    leading  to          40-1-641  ^ 

}  (d)  (ii)  New  melody  in  F  major  (Dominant)  64-2-8Q1  f 

j          (111)  Transitional   passage,   modulating   back  to  B    flat  ( 

major,  and  leading  to 80-2-89  ) 

Principal  Subject  in  Ionic  (second  entry),  partial  appearance  only    ...  90-3051 

Link  in  E  flat  major  leading  to '      105-2—110* 

Episode  II  in  E  flat  major '.'.[  1102—184 

'(e)  (i)  New  melody  in  E  flat  major  (Subdominant)  merging 
into  a  long  transitional  passage  written  over  a 
chromatically  moving  bass,  and  accompanied  for  a 
few  bars  by  an  inverted  pedal.  It  ends  on  the 
chord  of  the  Dominant  seventh  in  B  major,  and 
leads  to  :  1102-137 

(f)  (ii)  A  partial  re-entry  of  the  Principal   Subject  in   B 

major.  This  merges  into  a  modulating  sequential 
passage  founded  on  the  opening  figures  of  the  sub- 
ject, and  leads  to:  138-161 

(g)  (iii)  A  partial  re-entry  of  the  Principal  Subject  in  G 

major.  This  also  merges  into  a  modulating  pas- 
sage ending  on  the  Dominant  seventh  of  B  flat 
major,  and  leads  to  163-184 

Principal  Subject  in  Tonic  (third  entry)       '„          185—222 

Complete  but  for  the  last  two' bar's. 

(h)  Short  Coda       ...  222-2-235 


FIRST  MOVEMENT. 


(a)  See  Sonata  XIX,  first  movement  (a),  page  155. 

(b)  The  first  subject  is  an  eight-bar  sentence  in  the  tonic.     Its  fore- 
phrase  ends  on  a  half -cadence,  the  responsive  phrase,  which  is  an  inverted 
repetition  of  the  first,  is  also  modified,  to  close  with  a  full  cadence. 

The  momentary  suggestion  of  the  subdominant  key  in  the  first  and 
fifth  bars  should  be  noted. 

(c)  The  transition  in  this  movement  is  unusually  long,  and  consists 
of  two  portions,  the  first  ending  on  a  half -cadence  in  the  tonic,  bar  16, 
and  the  second  on  a  half -cadence  in  the  dominant,  bar  32.     A  comparison 
with  the  later  portion  of  the  movement  shows  that  it  undoubtedly  com- 
mences in  bar  8,  for  the  corresponding  passage  in  the  recapitulation  is 
clearly  the  commencement  of  the  second  transition. 

In  Hadow's  words,  "the  'surprise'  is  that  after  the  transition  has 


SONATA  NO.  XX.  l6l 

got  to  the  dominant  chord  an  episode*  founded  on  the  first  subject  is 
interpolated,  which  prolongs  the  transition  rather  more  than  usual." 

The  transition  is  founded  on  the  first  subject^  partly  on  the  opening 
two-bar  motive  in  its  entirety,!  and  partly  on  two  figures  derived  from  it. 
The  smaller  of  these  is  derived  from  the  initial  six-note  figure,  and  the 
second  seems  probably  traceable  to  a  combination  of  this  with  the  two- 
quaver  figure  at  the  close  of  the  above-mentioned  motive. 

Banister  refers  to  the  first  eight-bar  passage  of  the  transition — the 
greater  part  of  which  forms  a  sequence  in  the  melody — as  being  "  formed 
from  the  first  five  notes  of  the  subject."  Another  authority,  however,  is 
of  opinion  that  a  broader  outlook  should  be  taken  in  considering  the 
passage.  He  regards  it  as  being  worked  on  the  entire  subject,  and  points 
out  the  intimate  connection  between  the  opening  and  closing  figures, 
bars  8'3-io2,  and  the  two  intermediate  prominent  notes  (D  and  E  flat),  (the 
"  pattern  "  of  its  first  sequence)  with  the  corresponding  figures,  and  notes, 
of  the  opening  bars  of  the  movement. 

The  second  portion  of  the  transition  opens  with  the  two-bar  motive 
itself,  taken  first  in  the  key  of  the  tonic,  and  immediately  afterwards 
repeated  in  G  minor  (the  relative),  the  four  bars  thus  forming  a  modu- 
lating sequence.  The  passage  then  reverts  to  the  smaller  figures  men- 
boned  above,  on  which  the  remainder  of  the  transition  is  worked.  It 
passes  from  G  minor  to  F  major  (the  dominant),  in  which  key,  except  for 
two  momentary  modulations,  [(i)  to  B  flat  major,  24-25,  and  (ii)  to 
G  minor,  28-29],  it  remains. 

(d)  The  second  subject  opens  with  a  motive  founded  on  the  principal 
motive  of  the  first  subject,!  the  figure  of  semiquavers  with  which  it  com- 
mences being,  in  fact,  an  exact  reproduction  in  the  key  of  the  dominant 
of  the  opening  figure  of  the  movement.     The  first  phrase  is  of  the  usual 
four  bars'  length  and  ends  on  a  half-cadence.     The  responsive  phrase, 
which  is  lengthened  to  six  bars,  commences  by  repeating  the  opening  bars 
of  the  fore-phrase  in  the  key  of  G  minor.     In  bar  40  it  modulates  back  to 
F  major,  and  closes  with  a  perfect  cadence  in  this  key.     The  chord  of 
the  Italian  sixth  in  bar  40  should  be  noted. 

(e)  The  second  section  of  the  second  subject  starts  with  a  new  figure, 
which  is  answered  in  the  bass  by  a  figure  in  contrary  motion.     The  first 
two  bars  are  repeated  an  octave  lower,  and  are  followed  by  a  sequential 


*  This  episode  is  omitted  in  the  second  transition  which,  after  the  opening  bars, 
is  altogether  different  from  the  original  passage. 

f  See  *,  page  129. 

I  Banister  remarks  that  this  subject  resembles  the  first  subject  more  than  is 
usual. 

12 


162  MOZART'S   PIANOFORTE   SONATAS. 

passage  over  a  bass  ascending  by  step,  the  ascent  from  bar  46'*  to  4.81 
being  chromatic.  The  section  ends  with  a  full  close,  accompanied  by  a 
shake,  which  is  so  often  a  feature  at  the  final  cadence  of  the  second 
subject* 

(f)  The  codetta  consists  of  cadential  repetitions,   founded   on  the 
opening  six-note  figure. 

(g)  After  the  one  opening  bar,  which  is  a  repetition  of  the  last  bar 
of  the  codetta  taken  on  the  chord  of  the  dominant  in  G  minor  (relative 
to  the  original  key),  the  whole  of  this  section  is  worked  on  the  principal 
motivef  of  the  first  subject,  the  greater  part  being  accompanied  by  florid 
semiquaver  passages  in  double  counterpoint.     This  motive,  prolonged  to 
a  three-bar  phrase,  is  first  taken  in  the  bass  in  the  above  key,  and  then 
with  the  parts  inverted  and  with  one  slight  modification,  is  taken  in  the 
treble  in  C  minor.*    At  its  close  there  is  transient  modulation  to  F  major.  § 
In  bar  66  the  parts  are  re-inverted,  and  the  three-bar  phrase  occurs  in  the 
key  of  B  flat  major.     A  modulating  sequence  follows,  founded  on  the 
first  whole  bar  of  the  above  motive,  with  the  parts  once  again  inverted. 
This  passes  through  the  keys  of  A  flat  major,  B  flat  major,  and  C  minor, 
after  which,  now  shortened  to  two  notes  and  modified  in  interval,  the 
sequence  continues,  modulating  through  G  minor  and  F  major  to  D  minor 
(relative  to  the  dominant).     In  this  key  reappears  the  opening  six-note 
figure,  to  which  especial  attention  was  drawn  in  §  c.     It  is  worked  first 
over  a  dominant  pedal  (bars  77-80)  and  then  (in  81-82)  on  the  chord  of 
the    diminished    seventh    and    its    enharmonic    resolution    the   chord    of 
B  flat  minor.     In  83,  the  chord  of  the  diminished  seventh  is  again  heard, 
but  this  time  enharmonically  altered  to  one  on  the  raised  fourth  in  B  flat. 
It  now  resolves  on  to  the  second  inversion  of  the  tonic  chord  in  this  key, 
but  in  the  major  mode,  and  thus  leads  to  the  recapitulation,  which  com- 
mences in  the  same  bar. 

(h)  Only  the  first  few  bars  of  this  passage  are  like  the  original  tran- 
sition, the  greater  portion  of  it  being  entirely  new.     In  bars  96-98  the  music 


*  See  Sonata  XV,  first  movement  (f),  pages  117,  118. 

f  That  is,  the  two-bar  motive. 

I  The  student  must  not  infer  that  the  E  natural  in  bar  63  necessarily  denotes 
that  the  passage  is  in  the  major  mode.  It  is,  in  fact,  in  the  minor  mode,  the  E 
natural  being  an  accidentally  raised,  lower  auxiliary  note  to  the  folloAving  F. 
Another  way  of  explaining  the  key,  according  to  some  theorists,  is  to  consider  that 
there  is  transient  modulation  to  F  minor  at  this  point.  "When,  however,  a  com- 
parison is  made  between  this  passage  and  the  original  one  in  G  minor  (bars  60,  etc.) 
the  latter  explanation  does  not  appear  satisfactory. 

§  It  is  worth  noting  that  the  three  notes  (F,  E,  E  flat)  in  bar  66,  form  an  aug- 
mentation of  a  figure  from  the  second  bar  of  the  movement. 


SONATA  NO.   XX.  163 

modulates  to  E  flat  major,  passing  transiently,  in  98-99,  through  C  to  the 
key  of  B  flat  minor  (tonic  minor).  The  greater  part  of  bar  100  is  formed 
of  the  chord  of  the  Neapolitan  sixth  in  this  key,  with  suspension  of  the 
sixth  on  the  first  beat.  Transient  modulation  through  the  key  of  F  major 
follows,  the  latter  chord  being  quitted,  in  101,  as  the  dominant  in  B  flat 
minor.  The  passage  concludes  with  several  bars  over  a  dominant  bass, 
towards  the  end  of  which  the  mode  changes  to  the  major,  thus  leading 
to  the  return  of  the  second  subject  in  the  key  of  the  tonic. 


SECOND   MOVEMENT. 

(a)  This  movement  is  an  arrangement  of  an  Andante  from  a  Piano 
forte  Concerto  in  B  flat  major  (K.  450)  written  in  1784. 

(b)  The  following  are  the  points  to  be  noted  : 

(i)  The  Tema  and  the  variations  (with  the  exception  of  a  slight 
extension  at  the  end  of  the  third)  are  all  constructed  exactly  alike,  each 
of  the  two  Parts  consisting  of  an  eight-bar  sentence,  which  divides  into 
two  four-bar  phrases. 

(ii)  With  but  a  few  very  slight  alterations,  the  succession  of  har- 
monies (even  to  their  positions)  over  which  the  variations  are  written,  is, 
in  each  case,  an  exact  repetition  of  that  found  in  the  original  Tema. 

(iii)  Also,  with  but  few  exceptions  throughout  the  movement,  both  in 
Parts  I  and  II  the  dominant  chord  is  prolonged  over  the  tonic  bass  in  the 
perfect  cadences,  thus  in  each  case  producing  suspension  of  the  tonic 
chord. 

In  the  final  cadence  of  Part  I,  the  chord  of  B  flat  major  is,  of  course, 
converted  into  the  tonic  of  the  new  key  into  which  the  music  has  for  the 
moment  modulated,  the  music,  however,  modulating  back,  in  the  next' 
bar,  to  E  flat  major,  the  key  in  which  the  movement  is  written. 

(iv)  The  chromatic  concord,  IIb,  in  bar  3.  This  does  not  recur  in 
the  corresponding  position  in  either  of  the  variations,  but,  in  bar  26,  it 
replaces  the  chromatic  supertonic  discord  #iv°,  which  occurs  in  Part  II 


of  the  Tema  (bar  10).* 

It  should  be  noted  that,  in  the  first  instance,  the  chromatic  chord 
resolves  on  to  the  second  inversion  of  the  tonic  triad,  and,  in  the  second, 
en  to  the  last  inversion  of  the  dominant  seventh. 

*  In  the  last  variation  the  music  has  a  passing  modulation  at  this  point  to  the 
key  of  F  minor. 


164  MOZART'S  PIANOFORTE  SONATAS. 

(v)  The  chord  of  B  flat  major,  II7b,.  and  the  following  passing  sug- 
gestion of  the  key  of  G  minor,  which  occurs  in  approaching  the  perfect 
cadence  in  B  flat  at  the  end  of  Part  I  in  the  Tema  and  in  each  of  the 
variations. 

(vi)  The  interrupted  cadence  (bars  63-64),  which  forms  an  effective 
medium  through  which  to  introduce  the  additional  bars  at  the  end  of 
the  final  sentence  of  the  movement,  thus  making  a  welcome  variation  to 
the  previously  unbroken  series  of  eight-bar  sentences. 

(vii)  The  chord,  E  flat  major,  #iv%7,  the  first  inversion  of  the  chord 
of  the  supertonic  minor  ninth,  which  precedes  the  final  perfect  cadence. 

(c)  In  the  first  variation  the  melody  appears  with  semiquaver  move- 
ment in  the  treble. 

(d)  Syncopation  is  the  feature  of  the  second  variation. 

(ej  The  third  variation  is  characterised  by  its  demisemiquaver 
figures. 

THIRD   MOVEMENT. 

(a)  This  is  the  second  of  the  two  movements  in  this  sonata  which  in 
no  way  owes  its  origin  to  Mozart  (see  Sonata  XIX,  first  movement,  §  a) 
In  fact,  this  composer  only  wrote  a  Minuet  and  Trio  to  two  of  his  piano- 
forte sonatas,  viz.,  to  No.  IV,  in  E  flat  major,  and  to  No.  XI,  in  A  major. 

(b)  The  Menuetto,  as  is  most  usual,  is  written  in  the  same  key  as  the 
opening  movement,  and  the  Trio  is  written  in  a  related  key.     This  is 
especially  the  case  when,  as  in  this  instance,  the  sonata  contains  four  move- 
ments, of  which  the  Minuet  and  Trio  form  the  third. 

(c)  Part  i  consists  of  an  eight-bar  sentence  in  four-bar  rhythm.     The 
responsive  phrase,  which,  like  the  first,  is  in  B   flat  major,  modulates 
sequentially  through  G  minor  (the  relative). 

Bar  63  forms  the  chord  of  B  flat  major,  Jfiv°b7. 

(d)  Part  ii  opens  with  two  bars  in  G  minor  repeated  sequentially  in 
F  major.     In  bars  I3-I41  there  is  transient  modulation  to  C  major,  ap- 
proached through  the  chord  of  the  dominant  minor  ninth,  two  inversions 
of  which   chord   are   heard   in  bar    13      Transient   modulation   through 
D  minor  to  F  major  follows,  the  first  sentence  closing  with  a  full  cadence 
in  the  latter  key,  bar  16.     The  remainder  of  the  section  is  written  over  a 
pedal,  which,  starting  as  a  tonic,  soon  changes  (in  bar  18)  into  a  dominant, 
pedal.     The  opening  bars  of  this  passage  are  sequential. 

(e)  The  second  phrase  of  Part  iii  commences  in  the  key  of  E  flat 
major.     Its  opening  figure  in  the  treble  is  an  imitation  of  the  first  bass 
figure  of  the  corresponding  phrase  in  Part  i,  after  which  the  phrase  is 
modified  and  lengthened  by  cadential  repetitions  to  six  bars. 


SONATA  NO.   XX.  ^5 

(f)  The  Trio  consists  almost  entirely  of  repetitions  of  its  own  open- 
ing phrase  presented  with  various  slight  modifications.  As  the  fore- 
phrase  of  Part  i,  it  occurs  over  a  tonic  pedal  ending  with  the  dominant 
as  the  final  note  in  the  treble.  When  repeated  as  the  after-phrase,  the 
pedal  is  discontinued  and  it  ends  on  a  full  cadence  with  the  tonic  as  the 
final  note  of  the  melody.  Again,  as  the  first  phrase  in  Part  11,  it  appears 
inverted  and  modified  and  with  a  new  accompaniment  of  quaver  figures 
added  in  the  treble.  Here  it  starts  in  the  key  of  C  minor,  and  passing 
transiently  through  F  major,  modulates  to  the  key  of  B  flat  major.  In 
Part  iii,  the  whole  of  Part  i  is  repeated  without  any  modification,  unless 
we  take  into  account  the  few  notes  in  bar  16  which  form  a  link,  or  "  musi- 
cal prefix,"  to  the  sentence. 

The  second  phrase  in  Part  ii  starts  with  a  passing  modulation  into 
E  flat  major.  Bar  14  forms  the  chord  of  B  flat  major,  II7b. 

FOURTH   MOVEMENT. 

(a)  This  movement  is  an  example  of  the  older  type  of  Rondo-form. 
For,  though  a  second  melody  in  the  key  of  the  dominant,  following  after 
a  long  transitional  passage,  occurs  at  the  point  at  which  a  second  subject 
would  be  looked  for,  still,  as  this  melody  does  not  recur  towards  the  end 
of  the  movement,  it  does  not  constitute  a  subject. 

The  first  part  of  this  movement,  however  (i.e.,  to  bar  IO51)  would 
form  a  perfectly  regular  exposition  of  a  Sonata-Rondo,  and,  on  this 
account,  although  there  is  no  recapitulation  of  the  second  melody,  the 
movement  certainly  contains  some  features  of  sonata-form.  This  view 
is  also  the  one  taken  by  Banister. 

(b)  The  principal  subject  is  in  ternary  form.     Part  i  is  a  sixteen-bar 
sentence  in  four-bar  rhythm.     The  second  phrase  ends  on  a  half-cadence, 
after  which  bars  9-16  form  a  slightly  florid  repetition  of  bars  1-8,  modi- 
fied also  to  close  on  a  full,  instead  of  on  a  half,  cadence  in  the  tonic. 

Part  ii  is  written  entirely  on  a  pedal.  There  is  transient  modulation 
to  the  key  of  F  major  at  the  close  of  each  of  the  two  phrases,  the  second 
of  which  is  lengthened  from  four,  to  six  bars  by  cadential  repetitions. 
In  the  last  two  bars  of  Part  ii,  which  form  a  link,  the  pedal  is  inverted. 

Part  iii  is  a  shortened  version  of  P.art  i  consisting  of  an  eight-bar 
sentence,  lengthened  to  twelve  bars,  by  cadential  repetition  of  the  second 
phrase. 

Bar  38  forms  the  chord  of  B  flat  major,  T?b;  it  resolves  on  to  a  deriva- 
tive of  a  dominant  discord:  ii?b,  (Vnd). 

(c)  This  passage  commences  with  a  twice  repeated  full  cadence  in 


1 66  MOZART'S   PIANOFORTE    SONATAS. 

the  tonic.  In  bars  44'1-461  the  treble  of  bars  42'1~441  is  transferred  to  the 
bass  transposed  into  the  key  of  G  minor  (the  relative).  In  bars  45-47, 
and  overlapping  this  entry,  these  figures  are  imitated  in  the  treble  and 
followed  by  a  florid  passage,  which  modulates  through  C  major  to 
F  major,  and  then  in  the  form  of  an  ascending  sequence  continues  over 
the  chords  of  G  minor,  A  minor,  B  flat  major  and  C  major.  The  passage 
ends  on  a  dominant  pedal*  in  the  key  of  F,  during  which  there  is  a  recur- 
rence of  the  repeated  note  figure  with  which  it  opens  in  bar  40. 

(d)  This  is  the  melody  which,  did  it  recur  later  in  the  movement  in 
the  key  of  the  tonic,  would  form  a  second  subject.     It  consists  of  an 
eight-bar  sentence,  which  is  repeated.     On  repetition  the  first  half  of  each 
of  the  phrases  is  inverted,  and  the  whole  sentence  is  also  otherwise  modi- 
fied. 

(e)  The  following  points  should  be  noted  in  this  section : 

(i)  The  second  phrase  commences  with  a  tonal  sequence,  the  B  natural 
and  A  natural  (the  first  notes  of  bars  115  and  irrespectively)  being 
merely  accented  lower  auxiliary  notes,  accidentally  raised  to  a  semitone 
below  the  following  notes  of  resolution. 

(ii)  The  third  phrase  which  commences  after  the  half -cadence  in 
bar  1 1 8,  is  an  inversion  of  the  opening  phrase,  the  position  being  reversed 
— as  regards  the  voice — at  each  entry  of  the  figure. 

(iii)  In  bar  122,  the  music  modulates  to  A  flat  major,  thence  to  F 
minor,  E  flat  major,  and  in  131,  to  B  flat.  Here  an  inverted  pedal  com- 
mences, which  starts  as  the  dominant  in  B  flat  and  lasts  for  three  and 
a.  half  bars,  the  bass  meanwhile  continuing  the  chromatic  progression, 
which  commenced  in  bar  130  and  is  maintained  till  bar  136. 

(iv)  The  progression  from  134  to  135  is  enharmonic  (B  natural  : 
C  flat),  the  first  chord  in  the  latter  bar  forming  the  second  inversion  of 
the  dominant  seventh  in  G  flat.  This  is  followed  by  the  chord  of  the 
French  sixth  on  A  double-flat,  which,  however,  in  the  next  bar  resolves 
enharmonically  on  to  the  chord  of  V1!  in  the  key  of  B  major.  In  this 
remote  key  a  partial  re-entry  of  the  principal  subject  occurs. 

(v)  As  is  frequently  the  case,  when  one  of  the  higher  discords  is  em- 
ployed and  resolves  as  here  on  its  own  root,  the  eleventh  resolves  first 
and  leaves  the  root  position  of  the  dominant  seventh. 


*  See  Sonata  XIX,  first  movement,  last  paragraph  to  (§  b),  page  156. 

The  student  should  note  that  the  B  natural  and  D  in  the  treble  of  bars  57  and 
59  are  changing  notes,  and  do  not  alter  the  harmony  which,  at  the  moment  they 
occur,  is  each  time  that  of  F  minor  (dominant  minor). 


SONATA  NO.  XX.  1 67 

(f)  Only  ten  bars  of  the  principal  subject  appear  in  this  key,  for  in 
148  it  merges  into  a  connecting  passage  which  modulates  and  leads  into 
another  partial  re-entry  of  the  subject  in  G  major.     In  the  above-men- 
tioned bar  the  music  modulates  to  C  sharp  minor,  and  the  opening  motive 
of  the  subject  commences  on  the  last  inversion  of  the  chord  of  the  dimin- 
ished seventh  in  this  key,  ending  in  149  on  the  chord  of  the  dominant 
seventh.     In  the  following  bar  the  parts  are  inverted,  and  a  sequence 
founded  on  the  same  motive  commences  in  the  bass,  modulating  in  1 54  to 
the  key  of  E  major.     An  interesting  little  sequence  accompanied  by  sus- 
pensions commences  on  the  last  quaver  in  bar  155  and  continues  till  I581, 
in  which  the  treble  and  bass  move  in  contrary  motion  to  each  other.     This 
modulates  from  E  major  through  C  sharp  minor  to  A  minor,  the  passage 
continuing,  though  not  sequentially,  to  bar  161,  and  passing  into  G  major, 
in  which  key  it  ends  on  the  dominant  seventh.     Bar  I582  forms  a  deriva- 
tive of  the  dominant  eleventh  in  G  minor,  ii°7d,  and  that  at  1 5Q2  is  another 
inversion  of  the  same  chord,  ii°7C. 

(g)  As  in  the  above  entry  in  B  major,  so  also  here  the  first  ten  bars 
only  of  the  principal  subject  are  repeated,  after  which  it  merges  into  a 
connecting  passage,  modulating  through  A  minor  to  B  flat  major  (the 
tonic)  and  leads  to  the  final  entry  of  the  principal  subject — the  third  in 
this  key.* 

Like  the  previous  passage  commencing  in  bar  148,  this  one  also  IP 
founded  on  the  opening  motive  of  the  principal  subject.  In  bars  178-180 
the  bass  descends  chromatically  through  the  last  inversion  of  the  dom- 
inant minor  ninth  in  B  flat,  and  the  passage  ends  in  bar  184  on  the  second 
inversion  of  the  dominant  seventh  in  this  key. 

(h)  The  coda  commences  in  the  key  of  E  flat  major  (the  subdom- 
inant)  with  two  bars  founded  on  the  link,  which  leads  from  Part  11  to 
Part  iii  of  the  principal  subject,  and  is  then  developed  from  the  new 
little  stepwise  figure  introduced  into  these  first  two  bars.  An  inverted 
pedal  is  sustained  throughout  nearly  the  whole  passage.  Through  the 
chord  of  the  Italian  sixth  in  B  flat  (bar  226)  the  music  modulates  to  th? 
tonic  minor,  and  in  bars  227-228  we  meet  with  the  following  succession 
of  chords  : 

B  minor,  ic,  tfiv°7,  i°,  Vla.e-  Note  that  in  these  bars  the  second 
inversion  is  employed  each  time  as  a  passing  «.  Bars  229-230  are  a 
varied  repetition  of  227-228,  the  return  to  the  major  mode  not  being 
reached  till  bar  231.  The  second  inversion  in  this  bar  (repeated  in  233) 
is,  of  course,  employed  cadentially. 

*  This  is,  of  course,  accounted  the  third  entry  of  the  Rondo. 
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32