Mozart’s Piano Sonata in A MajorThe recognised style in the classical period in which this was writtenwas to write sonatas in Sonata form- the concept of a recapituation,development and exposition. Indeed, the majority of Mozarts othersonatas were written like this. However, this sonata has a differentbut very distinct form. The first movement is a theme and a set of sixvariations. Each variation aswell as the theme comprises of four fourbar phrases, as illustrated below. This form allowed Mozart to keepsimple, recurring themes throughout the movement and so gave thelistener a more immediate experience compared to the complexities ofcounterpoint of sonata form.
Within this first movement Mozart uses several musical teqniques to’popularise’ the music; attempts to embellish the notes and provide anextremely melodious and pleasurable end product. The music isdecorated with semi-tonal appoggiaturas in the right hand andacciaccaturas in the left, livening up the melody. As Mozart had justdiscovered the complex textural variation a piano could give, thepiece is littered with sforzando markings, e.g. in the last beat ofbar 28.
Each vatiation has features thatare unique to themselves or are onlyhinted at at different parts of the piece, e.g. the alberti bass infifth movement to emphasise the pace of the piece of the offbeatchromatic quavers, driving the movement forward in the last (sixth)movement. All these features serve to bring the audience in to themusic, in the same way the stuffing operates in a succulent turkey.
The second movement consists of a minuette and trio. These areentirely diffent in form to the first movement and operate in Teurnaryform (ABA). The minuetto is traditionally a dance which is veryunusual at this point in a piece and makes the sonata stand out evenmore to it’s audience. This movement is all about dynamics with lotsof ‘sfp’ and a smattering of dissonant notes, an example being in thesecond beat of the eighth bar when a G natural in the right hand