The Complete Piano Sonatas

wolfgang amadeus mozart the complete piano sonatas

▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌ ▋▋▋▌▌▌▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▌▌▌▌▌▌▌▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋

▌▌▌▌▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋ siegfried mauser

celestial harmonies CD 1 CD 2 Sonata C Major KV 279 15’07” Sonata D Major KV 284 29’02” 1 Allegro 4’55” 1 Allegro 5’11” 2 Andante 6’55” 2 Rondeau en polonaise. Andante 5’41” 3 Allegro 3’17” 3 Andante con Variazioni 18’10” Sonata F Major KV 280 14’30” Sonata C Major KV 309 19’30” 4 Allegro assai 4’43” 4 Allegro con spirito 5’55” 5 Adagio 6’42” 5 Andante un poco adagio 7’24” 6 Presto 3’05” 6 Rondeau. Allegretto grazioso 6’11” Sonata B Flat Major KV 281 14’45” Sonata D Major KV 311 17’10” 7 Allegro 4’38” 7 Allegro con spirito 4’37” 8 Andante amoroso 5’45” 8 Andante con espressione 6’24” 9 Rondeau. Allegro 4’22” 9 Rondeau. Allegro 6’09” Sonata E Flat Major KV 282 13’08” Total time: 66’00” 10 Adagio 6’09” 11 Menuetto I & II 4’47” 12 Allegro 2’12” Sonata G Major KV 283 13’11” 13 Allegro 4’21” 14 Andante 4’24” 15 Presto 4’26”

Total time: 71’16” CD 3 CD 4 Sonata A Minor KV 310 19’27” Sonata F Major KV 332 20’43” 1 Allegro maestoso 5’27” 1 Allegro 7’35” 2 Andante cantabile con espressione 10’59” 2 Adagio 6’00” 3 Presto 3’01” 3 Allegro assai 7’08” Sonata C Major KV 330 20’15” Sonata B Flat Major KV 333 23’32” 4 Allegro moderato 6’33” 4 Allegro 7’26” 5 Andante cantabile 8’00” 5 Andante cantabile 9’36” 6 Allegretto 5’42” 6 Allegretto grazioso 6’30” Sonata A Major KV 331 24’48” Phantasie C Minor KV 475 13’43”

7 Andante grazioso con Variazioni 14’31” 7 Adagio 8 Menuetto 6’49” Sonata C Minor KV 457 19’31” 9 Alla turca. Allegretto. 3’28” 8 Molto allegro 6’20” Total time: 64’47” 9 Adagio 8’31” 10 Allegro assai agitato 4’40”

Total time: 77’49” CD 5 CD 6 Sonata F Major KV 533/494 23’22” Rondo A Minor KV 511 10’48” 1 Allegro 8’04” 1 Andante 2 Andante 9’21” 2 Adagio B Minor KV 540 15’00” 3 Rondo. Allegretto 5’57” 3 Sechs deutsche Tänze KV 509 13’15” Sonata C Major KV 545 10’39” 4 Menuett D Major KV 576b 3’13” 4 Allegro 2’59” 5 Gigue G Major KV 574 1’38” 5 Andante 6’00” 6 Andante F Major KV 616 8’39” 6 Rondo. Allegretto 1’40” für eine Orgelwalze Sonata B Flat Major KV 570 18’48” 7 Adagio C Major KV 617a 5’02” 7 Allegro 5’36” für Glasharmonika 8 Adagio 9’33” Total time: 58’20” 9 Allegretto 3’39” Sonata D Major KV 576 15’26” 10 Allegro 4’58” 11 Adagio 6’07” 12 Allegretto 4’21”

Total time: 68’42” n recent decades the tonal represent- older instruments, and it can be recreated they become apparent from the context. archaeologist by profession—remarked ation of Mozart’s music has seen on modern pianos, both in melodic and Above all it is the process of breathing that upon the “liveliness” of his music caused by significant changes. This is principally accompanying passages such as Alberti lies at the heart of both speech and singing the interplay between conformist regularity I which must govern the musical line and its and deviations from it. Every interpretation due to new insights into historical per- basses and other harmonic or rhythmical formance practice, particularly with regard figurations. The resulting transparency of various divisions. of Mozart’s music must explore these to grouping, phrasing, articulation and texture permits a floating lightness in the Within these linguistic periods lie the structural contradictions – a view and ornamentation. The increasing use of softer range as well as increased dramatic smaller phrases that form the detail of the interest shared by many modern composers. original instruments and their modern potential in forte passages. Thus the often musical and syntactical process. Normally Within the general structures of sonata reconstructions has also affected modern sentimental and romantic nature of older these are obvious from the notation, but form, ternary form, variation sets or rondo taste, whether in purely tonal terms or in Mozart performances and their tendency often they are marked by slurs; slurs the period groupings form the second layer indicate not only units of legato, but also of musical structure, and within these the the use of harmony and pedal. Theégalité to restrain and overdecorate in rococo units of phrasing and articulation. However, units of articulation then form the smallest of the past was a product of 19th century playfulness is avoided, opening the door since Mozart did not always supply these and most direct units of musical expression. musical ideals which survived far into to a flexible and rhetoric enunciation in indications, which in any case were evident There have been many attempts to better the 20th century, blending the music into th century – a direction the spirit of the 18 to his contemporaries, we must often understand the various articulation signs undifferentiatedlegato lines; in recent emphasized by the reduced use of the pedal, deduce that which is missing by use of our Mozart used, but it has proved impossible times it has been found unsuitable for the also derived from older instruments. experience and our knowledge of the style – to elucidate the difference between the dots, rhetorical nature of Mozart’s music. Contemporary performance manuals usually this can be done without much dashes and lines placed above the notes. Some new observations relate to frequently attest the link between periodic controversy. Within the habitual melodic It is however clear that these signs have a fundamental aspects of line and melody, divisions in melodic lines with those in units of two, four and eight bars there are decisive impact on the detail and flexibility such as the use of non-legato where no speech, and in some cases linguistic frequently smaller gestures and motifs that of Mozart’s rhetorical expression. The specific articulation is demanded. This punctuation marks such as full stop, do not conform to the regular divisions. As palette he employed ranges from legatissimo norm of always lightly separating notes comma, question and exclamation marks a result, these small irregular units often and legato to portato—indicated by a by default, giving the musical line a gentle were even inserted in the score to highlight merge to form larger irregular periods – a combination of slur and dot—and various portato character, is a fundamental change these parallels. Often such periods are procedure repeatedly found in Mozart’s forms of staccato. It is the musical gesture from the ever-present fingerlegato of the clearly recognizable in Mozart’s music, music but always clearly an intended within the phrases that is differentiated with 19th century. Acoustically this innovation is especially in harmonic progressions and exception to a firm rule. Indeed, Mozart’s these signs, creating an almost theatrical derived from the much faster tonal decay on suspension-laden cadences; in other cases first biographer Otto Jahn—a classical spontaneity and directness. The detailed observation of periods, by the use of improvised ornamentation, instrumental characters and their dramatic hand whilst keeping the other strictly in phrases and articulation forms the basis of described in historical treatises as Manieren qualities. time, one has done what is necessary.”3 This the communicative and dramatic nature (embellishments). In his piano concertos Tempo rubato is another category passage is strikingly reminiscent of Mozart’s of Mozart’s music and creates the illusion these were usually restricted to substantial which within the classical style belongs description of his own playing: “Playing of a purely instrumental theatre; it is one improvisations at points of structural to embellishments and ornaments, as tempo rubato in an Adagio without the left of the basic components of a successful importance such as cadenzas or entries; described by Daniel Gottlob Türk in his hand knowing about it, that is beyond them performance. The composer Hans-Werner in the sonatas they are used when sections Clavier Method (1789): “The hesitating on – their left hand always follows the right” Henze, a lifelong devotee of Mozart, coined are repeated, particularly in the slow certain notes” can normally be employed (letter of October 24th 1777 to his father). the term “instrumental theatre” for many of movements. Historical sources request that both on strong and weak beats, as long as This should make it clear thattempo rubato his own works, but the term fits perfectly for such ornamentation is applied sensitively “it is used carefully to emphasize”1. In the indicates a flexibility of the melody in much of Mozart, in particular his piano and tastefully, but also make it clear that it first case it is used to punctuate and clarify, relation to its accompaniment, as opposed music. Created by technical means, the is expected. Additionally, in the cadenzas in the second it is used as an ornament to to a distortion of all voices at once. Being a articulative gestures seem to recall living and entries to the concertos, but also in highlight a suspension or dissonance. Such manner of enhancing the expression of the characters acting and reacting on an the sonatas, we have examples of Mozart’s tempo modifications became increasingly music it must be used with great sensitivity: instrumental stage. It is even sometimes own use of ornamentation – often supplied popular in the course of the 18th century; “This embellishment requires prudence possible to follow individual characters by the discrepancies between autograph in 1753 C.P.E. Bach had referred to various and care to succeed. If one has both it will through a range of dramatic situations from and first edition, such as in the variations passages “in which one should lengthen be not be difficult to play with all necessary tender intimacy to dramatic confrontation. of the early Sonata in D, K 284 or the slow both notes and rests a little for expressive freedom.”4 Mozart, the supreme master of the opera, movement of the Sonata in F, K 332. There reasons”2, especially in a slow tempo. In The practice of varying music when it thereby brought an incomparable vigour is a systematic overview of the possibilities the third edition of his book, in 1787, Bach is repeated is also confirmed by Mozart’s to his instrumental works; it was the in Friedrich Wilhelm Marpurg’s Method described different types of rubato: “In own differing indications of articulation achievement of research into performance of Piano Playing in the Manner of Today this manner some figures may have more and phrasing in the recapitulations of his practice that illuminated this aspect of his of 1755, giving today’s performer clear or fewer notes than the bar allows. It is sonatas. Many well-meaning musicologists music and made it available to composers in guidelines. The “tasteful” clarification and possible to distort one or more bars in this and performers categorically tend to the 20th century. amplification given by both improvised and way. However, it is important and difficult assume these variants to be errors of the The spontaneous aspect of Mozart’s notated ornaments to individual gestures to keep all notes of the same type equal. If composer and so correct them. In some instrumental theatre is enhanced further again serve to invigorate the presence of the one succeeds in playing against time in one cases this may be justified, but in general these variants seem to me to illustrate the completely compatible with contemporary obsolete. The clavichord had been used and he plays them so incomparably as no- constant change wrought by the passing of perspectives. It is a view that is mainly as a domestic instrument, intended one has heard”. His family definitely owned time, the fact that the same sentence, the æsthetically not dependent on the use of for practice and composition rather than a clavichord and a two manual harpsichord, same gesture or figure can never be replayed historical instruments, and is therefore concerts, but in this specific use it remained possibly also a spinet; there was however identically – or, as Heraclitus put it, πάντα quite appropriate for modern pianos. A common even into the 19th century. a Stein fortepiano at the residence of the ῥεῖ (everything flows). Mozart presumably performance on a modern piano might seem Publishers advertised their music with Archbishop even before Mozart’s birth. was not thinking in such rigorous terms; to be inauthentic in comparison to Mozart’s commercial interests in mind and titles Mozart must have tried the pianos of the the variants in phrasing and articulation world, but the critical distance created by are therefore not always reliable indicators Regensburg piano builder Franz Jacob seem to reflect his experience as an opera the modern sound, and the advantages of as to the instrument the composer had Spaeth quite early on, and he mentions composer, composing music for real, modern instruments, can lead to a form of written for. Even Beethoven’s Sonatas them in an important letter to his father life-like situations that are never tidy and additional dialogue with the music. Mozart Op.27 (1800/1801) were advertised for (October 17th 1777) in which he explains consistent, and carrying this perspective himself was delighted by the progress in “harpsichord (or piano)” in an attempt his feelings on fortepianos in general; he over into his instrumental music. At the piano construction, from the early pianos to broaden their market, in spite of their does emphasize the clarity and precision of very least it can be said that both the and tangent pianos (a rare combination of clear suitability for the piano. General Stein’s instruments with regard to tone and practice of spontaneous ornamentation and harpsichord and fortepiano action) by statements about intended instruments pitch. Mozart had first played one of Stein’s variable phrasing enhance the vigour and Spaeth in Regensburg that formed his first are consequently impossible, and only the “excellent pianos” on the same journey, in drama of his music. Every performer, and departure from the harpsichord and clavi- details of individual works can illuminate Munich in the house of a Mr Albert. Later more so every editor, should therefore be chord, to those of Stein in Augsburg and matters. in Vienna he continued to use a clavichord highly reluctant to intervene in a corrective finally those of Anton Walter in Vienna, one In the case of Mozart’s Sonatas the five for composing, as his wife Constanze way. of which he purchased in 1782. early Sonatas, K 279 to 283, composed in attests, but his preferred instrument The present interpretation of Mozart’s Before 1770 the principle keyboard Munich in 1774, contain many harpsichord was certainly the fortepiano. Some time 18 Piano Sonatas attempts to build on these instruments were with few exceptions the specific features. It seems doubtful whether between early 1782 and 1785 at the latest two fundamental recognitions: that the harpsichord and clavichord; between 1770 Mozart had a fortepiano at his disposal in he purchased a piano from the Viennese pseudo-dramatic element of his and 1780 the fortepiano gradually became Salzburg in the 1770s, as this letter passage builder Anton Walter to which he had a instrumental music can be best realised an equal alternative until it became the from Mozart’s mother to his father would pedalboard added, according to a letter through research into historic performance norm between 1780 and 1795, after which suggest: “He plays much more here than in to his father. In his preference the larger practice, and that the resulting view is the harpsichord became more or less Salzburg as there are many fortepianos here and fuller tone of Walter’s instruments surpassed the light, silvery tone of Stein’s. time and the nature of a recording make Volume 1 (CD 1 & 2) virtuosity. This distinction is underlined Without doubt all works composed this unrealistic—rather a well-balanced The six Piano Sonatas K 279 to 284 were all by the fact that the Sonata was published before 1772 were intended and conceived marriage of past and present. The choice composed in early 1775 and were numbered together with the Sonata K 333 and the for the harpsichord; those written between of modern instruments is partly based sequentially by Mozart in his autograph, Violin Sonata K 454 in 1784 by Torricella in 1773 and 1777 are more difficult to assign. on the desire to include insights from indicating that they form a set. However, Vienna, rather than with the other five 1779 Linguistic usage is no help either as within contemporary music such as structural the Sonata in D, K 284 dedicated to Count by Breitkopf. Mozart also mentioned and the family correspondence the general divisions and textural heterogeneity. It is a Dürnitz of Munich in a letter of June 9th performed K 284 several times, for instance term “Clavier” is used; Wolfgang himself in blend of experiences from both historical 1784, stands apart from its siblings in in an academy concert in Augsburg in his own catalogue uses the term “Klavier” research and the avantgarde. some respects. The almost 20 minute long October 1777: “…then I played solo, the last from 1784, even when the autographs and Additionally, the recording attempts variation movement that forms its finale Sonata in D, of Dürnitz…” – emphasizing its publications suggest the harpsichord – as to reflect the differing stylistic and is substantial enough to be a separate distinctive status. late as his last year he continued to use the developmental origins of the Sonatas composition; including it within the There are of course many similarities word “harpsichord” when clearly referring by using different instruments and scope of this Sonata makes the resulting with the other Sonatas, perhaps caused to the piano. The sonata collection of K recording techniques. To this end, the work architecturally unique. Mozart also by the preparations for the premiere of 279 to 283 is particularly difficult to assign, harpsichord-influenced directness of the wrote in a letter of October 10th 1777 that La finta gardiniera, K 196 at the same as it contains many harpsichord specific early Sonatas is recorded on a somewhat this Sonata especially suited the pianos time in Munich. This work was a similar passages alongside a striking number of percussive Steinway, whereas the increased of Andreas Stein, thereby suggesting a breakthrough for Mozart in the realm of dynamic indications, including gradual sonority of the later works is performed particular suitability for performance changes, which suggest the fortepiano. on a Bösendorfer Imperial. We have opera buffa as Idomeneo of 1781 (K 366) From 1777 (the Mannheim Sonatas K 309 intentionally avoided giving this complete on newer instruments. The other five had been for opera seria; not only the and 310) it is however highly probable, and recording an acoustic and tonal consistency Sonatas include many techniques of the theatrical humour of the finale in K 281, but from his Vienna time onwards absolutely in order to illustrate the continuous stylistic harpsichord, only occasionally making use also the generally dense and richly varied certain that his keyboard works were changes in Mozart’s Sonatas. of modern styles and dynamic indications. characterisations of most movements seem intended for the piano. Whilst these Sonatas therefore reveal operatic. Presumably all six Sonatas were With these considerations in mind 1 Daniel Gottlob Türk an instrumental ambivalence in terms written as vehicles to demonstrate Mozart’s the present recording does not attempt a Anleitung zum Clavierspielen (Leipzig, 1789) of touch, this concluding Sonata clearly skill as a practising musician during his rigorously realised historical authenticity— p. 338 requires the fortepiano, judging by its three months in Munich: “I have already 2 changes in listening habits since Mozart’s Carl Philipp Emanuel Bach significant demands on tonal variety and played my six Sonatas from memory several Versuch über die wahre Art das Clavier zu spielen Erster Theil (3. Printing, Leipzig 1787) p. 98 3 loc. cit. p. 99 4 loc. cit. p. 100 times in Munich” (in a letter of October 10th from harpsichord techniques. The 18- supporting the lyrical dialogues in the K 281 is particularly influenced by 1777.) Performing these “difficult Sonatas” bar development is also dominated by upper voice in a manner typical of Mozart’s improvised ornaments in the contemporary (February 4th 1778) would have given the sequential patterns, beginning in G Minor Andante movements – as late as in the manner. The frequent sudden alternation opera composer increased publicity and and changing key in each bar in a manner Andante of the little Sonata in C, K 545 between rapid figuration and more emotive was thus somewhat of an advertisement. reminiscent of Scarlatti; a two-bar repeated we find this feature, expounding a lyrical passages is reminiscent of the aesthetics In this context it becomes clear that each melodic phrase in bar 48 briefly breaks the narrative on a mostly unchanging of the sensitive style, and of Carl Philipp Sonata is characterized by its own specific continuum with sudden dynamic changes. accompaniment. The accompaniment Emanuel Bach in particular. The second balance of operatic theatricality and This use of abrupt theatrical changes is functions as an instrumental stage on which movement is headed Andante amoroso—a instrumental virtuosity, in the spirit of already a feature in the exposition (bar the narrative gradually unfolds. In the unique indication in Mozart’s œuvre—and playful improvisation. 12 and bar 25) in which dynamic changes case of K 279 the narrative is characterised is thematically centred on a descending Both aspects are immediately apparent also frequently occur. These moments of by abrupt dynamic changes, adding a scale in amorous thirds, sixths and tenths, in the first movement of the Sonata in C, surprise seem like spontaneous gestures, theatrical element to the otherwise lyrical and includes examples of fortepiano- K 279 the only Sonata of which the made by characters on an instrumental tone. specificcrescendo and diminuendo. The manuscript is lost. It is a movement of stage in the same way as they might in The playful and relaxed Finale returns somewhat boisterous Rondeau which almost constant semiquaver figurations, Mozart’s operas. The recapitulation (bar to C Major and shares many features of the concludes the Sonata feels like something alternating arpeggios, scale passages 58) is slightly expanded from 38 bars to 42 first movement, with even closer affinity to from an opera buffa, a sort of instrumental and Alberti bass lines in a humorous, and includes the expected tonic key in the baroque harpsichord techniques. The initial Commedia del’arte. playful manner. In this melée one can second subject (bar 74); however, as in the clash between two minims forming a rising The Sonata in F Major, K 280 includes distinguish numerous shapes and motives faster movements of baroque suites, the fourth and the subsequent descending the first expressiveAdagio , in F Minor, full leading to a rudimentary second subject formal recapitulation is less significant than semiquavers demonstrates a gesture typical of plaintive dissonances, presaging in G (bar 20, via the mediant E and the the continuing semiquaver movement in of the early Mozart in its question and Mozart’s late style with its floating 6/8 time. secondary dominant D from bar 16), closing the larger structure. response structure. A care-free and playful Presto functions as although it is more a case of paratactic Corresponding to the semiquaver Both the Sonata in F, K 280 and the an effective and pirouetting Finale, much variety than of a rounded structure. This movement of the first movement are the Sonata in B Flat, K 281 employ patterns like the Finale of the fifth Sonata K 283. The variety is held together by the continuous continuous legato triplets of the second and figurations of the baroque harpsichord, overall structure of the Sonata is tightened semiquaver movement and the frequently movement in F Major. These triplets run although always blended with dramatic and by the increased contrast between this reappearing patterns often clearly derived through both outer and middle sections, operatic elements. The first movement of Adagio and the subsequent Presto, as well as the preceding Allegro assai. The divergence œuvre of another feature typical of his dance movements in the centre of Sonatas, was both concluding his first group of Piano in tempo also leads to increased contrast in later style: the singing Allegro – the most such as in K 282, the choice of Rondeau Sonatas and showing a desire to expand to a character. effective example of which is the Sonata en Polonaise is most unusual, its stately grander scale in the future. After the formal polarities of the in C, K 333. The principal movement pace hearkening back to the baroque Three years later, whilst visiting Mann- previous Sonata, the fourth Sonata in E appears in moderate tempo as a faster Polonaise. Again, the heavily ornamented heim, Mozart took up these symphonic Flat, K 284 wholly breaks the structural variant of the narrative Andante, such as and intricate texture seems to indicate a dimensions in his next Sonata, in C Major, mould, principally by opening with an we already found in the second movement gaze into the past, a regard from afar. This K 309. At the beginning of the clearly expressive Adagio, in two sections with of K 279, and also in the second movement becomes more apparent when comparing defined first movement the first subject concluding coda. The unusual placing of of the present Sonata. Lyrical dialogue the autograph and first edition – most again contrasts two bars of orchestral two Menuets in the centre of the work is combined with dramatic gestures to probably corrected and modified by Mozart unison with a melodic phrase made up of recalls the earlier practice of Haydn’s form a new genre, possibly modelled on himself. The already heavily ornamented smaller units. These lead into transitional youthful Partitas. However, the faintly the Sonatas in the galante style by Johann text becomes even denser, to the degree figures, returning in bar 8 to the initial ironic tone of the music seems to distance Christian Bach. that in the final movement, theAndante unison. All together it forms a seven bar it from antiquated traditions – the second After the formal modifications of with 12 Variations, the Adagio of Variation phrase made of smaller units, divided Menuet, functioning like a Trio, reveals a K 282, the innovations of the Sonata in D, XI grows into a substantially new piece, irregularly into three groups (2x3x2), casual sedateness almost smug in tone. It is K 284 are yet more significant. The opening usually printed alongside the autograph rather than the conventional eight bar hard to avoid recognizing this as an early of the first movement, an arpeggiated version in critical editions. Mozart’s own phrases with their 4x4 division. This tendency to classicism and disassociation chord in the tonic followed by a unison habits of ornamentation suggest once again irregularity in phrase structure dominates in Mozart; at the same time, these two response in octaves, clearly signals an that his printed text must not always be the continuation with its imaginative and Menuets offer further variations in the expanded form based on symphonic taken at face value. Any performer of his playful variants, but remains counter- virtually inexhaustible fund of Menuets dimensions. Additionally, the space allotted music, above all in the slow movements, balanced by the unmistakeably defined since Haydn – something of a competitive to each subject area is substantially larger must be willing to allow a certain freedom formal units: a transitional section from sport amongst composers. The concluding than in previous Sonatas, and the piano beyond the notated text in order to play bar 21 leads to a clearly established second Allegro unfolds with carefree purity and writing often recalls orchestral textures in the spirit of Mozart. The Finale of this subject (bar 33) and a coda announced rustic dialogue. (e.g. bar 13 etc). The second movement— Sonata— the dimensions of the Variations by a subito piano in bar 54. The variety The first movement of the Sonata in G Andante—is curious in its choice of form: are such that they could easily stand and irregularity of the first subject (bars Major, K 283 is the first example in Mozart’s although Mozart occasionally places alone— adds to the impression that Mozart 1 to 20) gives the movement as a whole a certain flexible liveliness and openness, of emotion and character, showing that has survived, leaving a copy by Mozart’s work Mozart composed during his stay made possible by the regularity of the larger Mozart was increasingly finding his own father Leopold, which also formed the in Mannheim, and it equally reflects the structure. The conventionally differentiated individual angle to conventional formal basis of the first edition in 1781, as the taste of the city. The circumstances of its second subject (from bar 33) then returns requirements. He seems to have been aware only autograph. Mozart had become quite composition are unknown, but the original to the more predictable phrases of two, four of this when requesting a letter that this friendly with Rosa Cannabich during manuscript has survived. As in its sister and eight bars. movement should be played “not at all fast” his stay, and it can be assumed that the work there are unusual features included The Finale of the Sonata,Rondeau , (letter of December 6th 1777). Concerning character of the Sonata in some way reflects to please the sophisticated but indulged marked Allegretto grazioso, forms a the practice of the Sonata, he also adds: her personality, particularly in the case Mannheim audiences. A good example of counter-balance to the heterogeneous “The Andante will trouble us most; it is full of the Andante: “I want to write it just to this occurs at the end of the exposition, nature of the first movement. A simplistic, of expression and must be played just as match the character of Mlle. Rosa”, he wrote where the two forte chords (bar 37) that folksong-like opening leads to more and written, with all forte and piano” (letter of in a letter of December 6th 1777. He also seem to conclude the section are followed more large-scale and virtuoso figurations, November 4th 1777). wanted to include stylistic traits specific to by an odd two bar phrase in piano (bars a strategy Mozart often used in his final In this Sonata, often named Mannheim, as his father quickly detected: 38 to 39) that at first sounds superfluous, movements, in which a theme of almost Cannabich Sonata, the circumstances of “One can tell that you wrote this in but is then used to generate the opening childlike under-statement is developed into its composition and its early performance Mannheim” (letter of December 8th 1777), of the development. As in other passages, remarkable guises. The second movement is practice are unusually well documented. and three days later: “it has some of the it is Mozart’s masterful command of his unusually marked Andante un poco adagio, Mozart stayed in Mannheim as a guest of Mannheim style in it, but not so much as to audience, at first irritating and deceiving presumably to indicate a sostenuto aspect the court musician Christian Cannabich spoil your good taste”. Leopold may have them only to finally delight them – much of the main subject, rather than the more for several months in 1777, and it was been referring to the small eccentricities we as on stage a character can first appear flowingtempo andante would normally during this stay that he composed the have mentioned, the frequent ornaments irritating only to save the day later on. suggest. In the course of the movement Sonata for Cannabich’s daughter, “…who and the preponderance of small units in all Like the second movement of K 309, the the many small note values (triplet plays the piano quite nicely” (letter of three movements. In any case, the Sonata following Andante with its con espressione semiquavers and demisemiquavers) make November 4th 1777). Following this stay, reflects a consolidation of the larger scale is similarly untypical, rather more adapted a slower tempo advisable, and the frequent Mozart kept a lively correspondence to initiated by the previous Sonata in D, as to suit the particular audience with its sharp dynamic contrasts add a strong which we owe the quoted letters, and well as a widening of his musical language, elaborate expressivity. TheRondeau finale expressive character. The movement as a which reveals much valuable information. soon to absorb the new influences in Paris. again opens with apparent simplicity, whole occupies an unusual blend in terms Unfortunately no manuscript of the Sonata The Sonata in D, K 311, was the second only to develop into virtuoso figurations of almost concerto like character. Indeed, Volume 2 (CD 3 & 4) It is a characteristic of Mozart’s creativity first movement is often connected with the the concerto qualities are confirmed by Mozart’s Piano Sonatas can be broadly that there are some-times clear stylistic death of Mozart’s mother on July 3rd 1778, the inclusion of a notated entrance to the divided into three groups, of which the developments in his œuvre, but that it is together with the minor key melancholy final section in bar 172:Andante – Presto first, K 279 to 283, and the last, K 533/494 often difficult to trace their origins in earlier of the Violin Sonata in E Minor, K 304. – Adagio, in the manner of a compact to 576, are fairly clearly demarcated. It is works. More commonly, individual works There is no trace of any commission for the cadenza. on either side of the middle period that it of an experimental nature stand out, as A Minor Sonata, nor of any other possible Both Mannheim Sonatas, at least in becomes more difficult, confirming the in the case of the stylistically innovative impulse for its composition; even in the their second and third movements, share notion that Mozart’s development was Sonatas K 310 and K 475/457 that occupy absence of any evidence to link the Sonata stylistic qualities that are closely linked fluid and not easily divisible. The Sonata the fringes of the middle period – it is surely with his mother’s death, it would be odd if to the circumstances of their composition in D, K 284 stands out from the group no coincidence that both are in a minor key. such a momentous event were unconnected and their performances. The often held of early Sonatas in its dimensions and The stylistic innovations are undeniable, with the uncompromising defiance of this opinion that Mozart’s creativity was largely symphonic scope, foreshadowing the although it is difficult to pin them down unprecedented and singular work. Without independent of his personal life is here Mannheim Sonatas; conversely, these and separate them from the general musical wishing to descend into unjustified clearly invalidated: both the people and the Mannheim Sonatas can be said to share argument – once again a feature of the psychologizing, it must be noted that places into which these works were born some of the qualities of the earlier works, multifaceted and instinctive composer. Mozart was not in the habit of expressing had significant impact on their features, qualities which were only fully abandoned The Sonata in A Minor, K 310 is his grief in words to any great extent, as although only insofar as Mozart’s “good in the Paris Sonata in A Minor K 310. In a definitely one such individual work. can be seen in the tardiness of his letter taste” allowed. similar way, the Fantasy and Sonata in C Composed in 1778 shortly after the two to his father informing of his mother’s Minor, K 475/457 can be seen as a richly Mannheim Sonatas and published in Paris death. His own more natural language, contrasted conclusion to the middle period in 1781 it shares with these its indebtedness music, was a much more likely vehicle or as a dramatic breakthrough to the late. to a major musical city and the biographic for such expression. The rebellious Depending on one’s perspective there events around its creation. Mozart had for pounding of the chords at the opening of is therefore a middle period extending the first time undertaken a long journey the first movement, almost obsessively either from K 309 to K 475/457—that is alone with his mother, for which reason continuing for four bars, as well as the between 1777 in Mannheim and 1785 in we are in possession of a thorough and clashing appoggiaturas and the dotted Vienna—or from K 310 to K 333 – that is illuminating correspondence with his rhythms of the main subject reveal a direct between 1778 in Paris and 1783 in Linz. father. The unique drama of the minor key emotionality that is most uncommon in Mozart and which seems to foreshadow is equally unprecedented in character and could also owe something to the Parisian his mother’s death. A further spur may have Beethoven in the same way as Mozart’s composition: a rushing Presto manically taste; in the same year he composed it been his disappointment with a distinct other minor key Sonata, K 475/457. It is spinning around like a perpetuum mobile, Mozart wrote in a letter: “…as you know, I lack of success during his stay in Paris and therefore evident that both the possible with a curious tendency to overlap lines and can take on and imitate any style or manner his subsequent feelings of defiance and beginning and ending of the middle group create polyphony, as if to resist the constant of composing” (letter of February 7th 1778). rebellion. of Sonatas is marked by revolutionary momentum; this strategy was already He had already been fascinated by the The following Sonatas would each works that reach beyond the classical noticeable at the climax of the development Parisian style as a child; his early Piano merit their own detailed analysis, as the period well into the 19th century. in the first movement (bars 58 to 69: Sonatas with violin accompaniment K 6 formal variations and subtleties are too The development of the first movement ff-pp-ff). Even a brief more lyrical middle to 9 were based on a medium very popular numerous to describe here. It is therefore in K 310 is particularly noteworthy: section (bars 143 to 174) cannot divert in Paris, and his early Pasticcio Piano more fitting to highlight individual traits whereas in past Sonatas the development the almost ex-pressionist energy of this Concertos K 37 and 39 to 41 were based on that set each Sonata apart from the others. could occasionally seem something Finale with its despairing cries in bars 199 Sonata movements by Schobert, Eckard The three Sonatas K 330 to 332 seem to of a chore, such as in K 281, the biting and 202. It is a new dimension of Sonata and Honauer, all three German composers have been composed as a group by Mozart, dissonances and sharp dynamic contrasts that Mozart opens up here, one that is living in Paris. These German Parisian in the manner of a cycle. They were of fortissimo and pianissimo give the work not matched until the final movements of composers had been active in Paris from presumably composed in quick succession almost symphonic dimensions (bars 50 to Beethoven’s Tempest Sonata Op. 32 № 2 and 1760, composing music that was highly in 1783 in Vienna or Salzburg, on the 79). TheAndante cantabile con espressione Schubert’s Sonata in C Minor, D 598. The expressive, even if much of it was somewhat occasion of a visit to present Mozart’s wife also displays such a variety of dynamics generally low dynamics of the movement crudely written for effect. Schobert’s Constanze to his father and sister. They and note values, from crochet movements give the impression of strenuously piano music was particularly successful, were subsequently published together in to hemidemisemiquaver figurations with restraining the movement as if it were being and Mozart is known to have bought his Vienna in 1784. The incomplete nature added ornaments as to open up new held back by demonic force. If the theatrical Piano Sonatas in 1781, presumably for use of the manuscripts suggests that Mozart dimensions of expression. Here also we can element in Mozart’s Piano Sonatas had with his pupils. This Parisian expressivity made changes to the text late on – a further find a tremendous development section thus far taken the form of playful and can therefore be assumed to have played indication that composition for Mozart (bars 32 to 53) that begins with strikingly imaginative characterisation it is now a part in the conception of K 310, so that went on until the last possible moment. low repeated chords in analogy to the first articulated in direct and spontaneous Mozart’s practice of adopting external In the first edition of theAdagio of the movement, accompanying the melody in a drama and expression. influences into his own language here Sonata in F Major, K 332, the modifications most unusual manner. The last movement The extreme nature of this Sonata coincided with the biographical stimulus of relate largely to the ornaments, i.e. the least defined areas of the text, and are so contrasting first movement, its expressive performable as single works, inasmuch a singing Allegro, in which the melodic far-reaching that the current Neue Mozart- and frequently dissonant second movement as they are thematically quite distinct. In main subject sings out above ostinato Ausgabe prints two versions side by side, and the concertante virtuosity of the third this sense they are similar to his last three accompaniment figurations. It was Johann leaving the performer to decide which movement confirm the musical expansion symphonies, or the final three piano sonatas Christian Bach, the “Italian” Bach, whom to play. The numbering of the Sonatas in from K 330 to K 332, between which by Beethoven and those by Schubert – all Mozart met in London in 1764, who first the autograph and first edition confirm the Sonata in A, K 331 stands as a more can be performed alone even if they clearly conceived this type of movement, and this the stylistic analysis that the collection experimental centre piece. belong to a group. main subject bears an uncanny resemblance amounts to more than just a random Formally, the Sonata in A defies all In November 1783, the Mozart family to the main subject in Bach’s Sonata in G selection. structural conventions: opening with a interrupted their journey from Salzburg to from Op.4. The resemblance just falls short Examining the three Sonatas one set of variations on a slow theme (Andante Vienna in Linz, where Mozart composed of being a quote, although Mozart had in notices several points: the three respective grazioso), a substantial and tonally wide the Sonata in B Flat, K 333 around the same a letter acknowledged such a quote from tonic keys descend in thirds, beginning ranging menuet and trio is then followed by time as the Linz Symphony, K 425. It was Bach’s Cantata La calamità dei cuori in with C Major in the case of K 330, then A the Finale, exotically marked Alla turca. It published in 1784 together with the Dürnitz his Piano Concerto in A, K 414 of 1782. Major in K 331, then F Major in K 332; the was particularly this last movement, with Sonata K 284 and the great Violin Sonata The whole movement follows this lyrical three keys together form a triad of F Major, its imitation of Turkish Janissary music in in B Flat K 454. According to one theory, strategy; the second subject (bar 23) begins the key of the final Sonata. The first and all its percussiveness (bar 116) that made Mozart had planned a second triptych of with chords, but quickly reverts to the third Sonatas are conventional in form, this Sonata especially successful, feeding Piano Sonatas to follow K 330 to 332, but same lyricism, and even transitional and each with three movements in the usual on the general popularity of Turkish music only completed K 333; the publication accompanimental figures follow the same fast-slow-fast pattern. The tempos of these in Vienna at the time. The music conjures then combined it with the older Sonata nature. Not only the first movement with movements are all moderate in the first and up a stage here, much as it had done and the Violin Sonata to make three. Again its expanded dimensions— an exposition sharpened in the third: Allegro moderato literally with the Janissary music of the The there are several discrepancies between of 63 bars, a development of 29 and a (№ 1) – Allegro (№ 3) – Andante cantabile Abduction from the Seraglio. In publishing autograph and first edition, indicating how recapitulation of 71—but also the lyrical (№ 1) – Adagio (№ 3); Allegretto (№1) – this unusual triptych of Sonatas Mozart ready Mozart was to modify his text right Andante cantabile, to be repeated whole, Allegro assai (№ 3). may have been attempting to generate up to the point of publication, especially and the restrained concluding Rondo, Whereas the Sonata in C follows the publicity for himself as a composer of piano regarding ornamentation, articulation and Allegretto grazioso, share the same quality. elegance and lyricism of the galante style, sonatas; though the three works in many dynamics. The last movement confirms this expanded the Sonata in F Major, with its sensitive and ways form a group they are naturally also The first movement is a prototype of dimension by including a brief Cadenza in tempo in bar 171 and then a larger cadenza- opposition of piano and forte pave the new about combining a Fantasy and Sonata, At the end of the final movement like entry in bar 197 marked ad libitum way for much later successors such as the Leipzig music director Georg Simon there is a notable passage introducing a by Mozart, in reference to the expanded Beethoven’s C Minor Sonata Op.10 № 1. Löhlein had already published such a new pianistic usage: the very wide range form of the concerto. As a result of being The epic tranquillity of K 333 is Phantasia and Sonata as his Op.2 № 4 in between upper and lower voice occasioned so permeated with lyricism and melody, succeeded after a short interval by the 1768. The idea of preceding a large Sonata by the insisting dotted minims of the there is much less potential for contrast dramatic stage of K 475/457: returning to with a slow introduction was also not melody were hitherto unparalleled and within the frame of this large Sonata, the idea of the development of Mozart’s new, Mozart himself having used a similar only reappear in the late piano works which thereby acquires a more narrative, Sonatas, one could say that the triptych of strategy in his recent Violin Sonata in B Flat of Beethoven. From bar 302 the shape epic character. Even the occasionally K 330 to 332 is followed by the contrasted Major K 454. of the melody increasingly recalls the concerto-like Finale is affected, with its pair of K 333 and K 475/457. One example may be used to illustrate opening of the Fantasy, closing the long seemingly naïve and childlike main subject. It is assumed that Mozart composed the many thematic and motivic connections arch between the two works. With an Indeed, the naïveté of the subject creates the Fantasy to complement the Sonata as between the two works: the chromatic autograph manuscript, a first edition and its own potential for contrast, straying into he prepared for its publication in 1785; descent of a fourth in the Adagio of the an important copy, the source reading varied and virtuosic figurations but always this would explain the many connections Fantasy (bars 10 to 15) is used near the is probably the most complicated of all returning to the simplicity of the opening; between the two works that make their beginning of the Sonata, in the middle Mozart’s piano works, and there are again this is especially successful after the final union seem more than just a strategy of the voice after the first statement of the main many alternatives for the performer to cadenza in bar 199. publisher, Artaria. It was the first time that subject (bars 9 to 11), as well as several choose from. The two works can of course A diametrical opposite to K 333 is the Mozart himself instigated the publication times in the second movement – such as also be performed separately; in fact Sonata and Fantasy in C Minor, K 475/457. of a separate, single work – hitherto all the upbeat figurations in bar 6. The fact Mozart himself played the Fantasy alone The Fantasy is believed to have been Sonatas had been published in groups. It is that this figure is a well-known element in a concert on May 12th 1785 in Leipzig. In composed in May 1785, the Sonata in a logical step in the increasing individuality of baroque rhetoric, even having its own spite of the many connections both works October 1784. The extreme polarity of the and autonomy of Mozart’s works, and the name— passus duriusculus— makes the are quite distinct in formal terms, the thematic material and its uncompromising four subsequent Viennese Sonatas were connection no less significant, it merely Fantasy being a sequence of seven rather juxtaposition make this an even more all published separately; Beethoven often makes it more objective and neutral. Both different sections, most with their own radical sonata experiment than K 310. worked in the same way, beginning with works are also characterised by the same tempo indications, and the Sonata being Already the parallel openings of Fantasy Op.7, and most of his later Sonatas were general atmosphere of lament, oscillating written in wholly conventional sonata and Sonata with their intractable published individually. There was nothing between drama and tragedy. form, with a sonata-rondo as a Finale. It is therefore a combination of a free character Volume 3 (CD 5 & 6) of each work – visible in practical terms Sonata as a whole but unimportant to the piece, much like the “Free Fantasies” of It may seem strange to speak of a “late in the separate publications that brought original Rondo: polyphony in the guise of Carl Philipp Emanuel Bach, and a closed style” in a composer who only lived to 35 them to their audience. It is also clear that a small fugato (bar 152 to 160) and brilliant sonata structure, in which both parts retain years of age. However, his biography and none of the stylistic and formal discoveries virtuosity with a long dominant trill to add their autonomy. creativity suggest he must have experienced Mozart had made in his earlier works to the effect of the ending. life at a different pace. The overwhelming were abandoned; on the contrary, they are The first and second movements were scope of incident in his life, beginning with retained in the threefold sense of Hegel: composed in 1788, included in the work list his early long journeys, must have led to retained, surpassed and superseded. In as “an Allegro and Andante for piano solo”. a high absorption of experience, and the addition, Mozart found new inspiration The unusual opening of the first movement sheer amount of writing he undertook was in his increased knowledge of the music reveals another characteristic of this large perhaps only paralleled by Schubert, who of Bach and Händel, brought to him scale work: for the first three bars the right of course died even younger. With such an by Gottfried van Swieten, and in his hand plays alone, as in the opening of a excess of experience Mozart’s development growing desire to concentrate and channel fugue, only gaining an accompaniment was quick, and it seems therefore influences by abstraction. in bar 4; the left hand then surprisingly reasonable to identify a late style in his This is already clear in the composite repeats the same process (bars 9 to 11). works from 1788 onwards, i.e. his last three Sonata in F Major, K 533/494. The earliest This exposition of the main subject in years, spent mostly in Vienna. However, it germ of the Sonata is a single work of 1786, quasi-polyphonic style does in fact develop is difficult to pin down the exact stylistic “A little Rondo for piano solo”, as Mozart into a mostly three-part texture lasting features of this late style, in contrast to the put it in his own work list. ThisAndante throughout the movement, with occasional similar cases of Bach, Beethoven or even was then expanded with small variants imitation and fugatos. Schubert. With his almost subconscious and a 27-bar new section to become the The motivically and harmonically musicality one can often sense tendencies Allegretto of the new work. Once again jagged Andante is similarly composed in or developments without being able to state we see how close Mozart’s andante can be sonata form; it is centred on a development anything categorical. to a galante allegretto, as otherwise such section of mighty octave passages and The four remaining Sonatas certainly a replacement would be impractical. The almost obsessive sequences creating an continue the thread from K 475/457, i.e. added section from bar 152 contributes two enormous expressivity. Altogether this is of increased individuality and autonomy features relevant to the character of the perhaps Mozart’s most disturbing Sonata; in its strange construction it seems to movement; the adjective facile may well thereby becomes something of an objective third movements again lack any dynamic transcend the classical style and open new, refer to the manner of composition rather notation, a structural exercise in sound. markings at all, whilst the first has but few, historicizing dimensions. The departure than the technical demands, as these are It is precisely this reductionist idea that a type of “blank” piano sonata. The main from Mozart’s own previous language not inconsiderable. The symmetrically gives this Sonata its specific unmistakeable subject of the first movement is an even creates a tangible sense of melancholy, constructed subjects seem prototypical in fascination: in it, composition becomes an more abstract example of these late works: signalising a withdrawal after all his their characters and are articulated with educational presentation, another form of the first four bars consist of nothing else expansions and innovations. After the rests (i.e. bars 1 to 4 and bars 14 to 17), as theatricality, acting out the construction than an at first descending, then ascending direct musical drama and theatricality are the larger structural elements, such as of a Sonata. The floatingAndante in its broken chord, rhythmically articulated of K 475/457 this Sonata seems furthest the rests between first and second subject precisely calculated proportions and in long-short groups; there is no effort to away from any sort of musical theatre; in (bar 12) and exposition and development clear structural demarcations, with its create further detail, variety or contrast. its return to strict formulae it seems to (bar 28). One unusual feature is the preponderance of the most academic of all The following eight bars cover the tonic indicate a new dimension of reflection and recapitulation in the subdominant (bars accompaniments, the Alberti bass, and the and dominant functions in a more melodic abstraction. 41/42), leading to a seamless transition to surprisingly brief Rondo in typical Mozart manner, before a transitional passage (bar In general the later Sonatas tend the tonic second subject (bar 59). However, Allegretto confirm the model character 13) which is also clearly articulated in four- to eschew the direct theatricality, the this anomaly is presented so openly and of the whole Sonata and its archetypal bar phrases. multiplicity of contrasting figures of the obviously as to become almost educational movements. Just as in the case of K 533/494, Technically not undemanding, the earlier Sonatas, preferring instead rather itself, as if Mozart were pointing out that this Sonata is an act of self-conscious Sonata again avoids the spontaneous and abstract motives and themes consisting of even in model situations there can be reflection, if in slightly different manner. small-scale contrasts of the more operatic intervallic patterns, often with structural exceptions. The following Sonata in B Flat Major, middle period works, in favour of longer significance. TheSonata facile in C, K 545, The source material confirms this K 570, also fits into this pattern. It was stretches of clearly demarcated formal included in Mozart’s work list as Little impression of a consciously model-like composed in February 1789 but only passages. Instead of direct instrumental Piano Sonata for Beginners of June 26th Sonata: in the absence of an autograph the published after Mozart’s death in 1796 with drama it creates a more distanced view 1788 and only published in 1805, is a model main sources are the three earliest editions, an added violin part of uncertain origin. As incorporating the structural elements. example of this tendency. Composed in a published between 1805 and 1809; all both Mozart’s own work list and the partly Expression and reflection are combined reduced scale, the first movement seems three editions lack dynamic indications, surviving manuscript clearly indicate a solo in more relaxed and reflective experience, to aim to display in almost academic again suggesting an abstract text not piano work we must assume the violin part both reduced and concentrated. The manner how to construct a sonata form relating to actual performance. The text was an editorial incursion. The second and somewhat distanced view continues in the finalRondo , even in the more virtuoso from the main subject and return to the opening with an apparently child-like they form a dance cycle, complete with passages; the two rather folksong-like more abstract style, particularly in their Allegretto theme, frequently features transitions between the individual dances. episodes from bar 23 and bar 45 sound a polyphonic development from bar 81. The actual and implied polyphony, leading to Their place of origin, Prague, suggests that little like quotations in their indirectness. whole movement is technically highly textural contrasts. It is a worthy conclusion they may have been composed to fulfil However, the finale does then follow the demanding and seems to focus on the to Mozart’s Sonatas, combining brilliant the many social obligations that followed pattern of previous Rondo-Finales, where clash between dramatic theatricality and virtuosity, strict voice-leading and dramatic several successful performances of Le such simplistic beginnings develop into dissociated reflection, adding a kind of characterisation. Nozze di Figaro in that city, possibly for more elaborate and virtuoso conclusions. substructure to the primary sonata form. Individual pieces for piano solo became the carnival balls of the time. Strangely, The small scale patterns and dialogue The small scale exchanges of previous popular in the course of the 19th century Mozart headed the trio sections minore, like exchanges of earlier times seems to Sonatas give way to larger architectural with Beethoven’s Bagatelles and Schubert’s although they are all in major keys, with return in the opening of the last Sonata, in considerations governed by increased Moments Musicaux and Impromptus, the exception of № 5. Perhaps this was D Major, K 576 – composed in July 1789 reflexion and structural differentiation. but before these lyrical or poetic piano merely meant to distinguish them from the but again only published in 1805: the rising The fact that we know little of the pieces there were many others, offering orchestral versions, which correctly heads arpeggio of the first two bars is answered circumstances around the creation of these unaccustomed formal freedom to their them alternativo; it is also the orchestral by two one bar gestures in dramatic Sonatas confirms the reflective, detached composers. This is particularly true of version that suggests performing the dances manner. Counterbalancing this opening, character of the music: they do not seem to Mozart’s late character pieces, beginning as a cycle. The Dances contain an unusually the remainder of the exposition features have been commissioned or intended for with the Rondo in A Minor K 511 of March high number of different characters long stretches of polyphonic imitation with pupils – Mozart was therefore free to write 11th 1787 and the Six German Dances K 509 and performance indications for such a various fugato passages; this continues in them free of external considerations. of the same year, composed in Vienna and transient work. There are moments of rustic the development (bar 63) and well into the The expressivity of the slow movement Prague respectively. Both works share a humour (№ 5, with a more sensitive trio), recapitulation (bar 107). There is therefore is also grounded on large-scale areas of typical feature of character pieces in that theatrical character pieces such as № 2, as a formal tension throughout the movement melodic passage work. Just as in the first they are hypothetical orphan movements well as a Rossini-like coda complete with between structurally determined elements movement, the small exchanges of the of larger works, such as sonatas or suites. brilliant conclusion. and the drama of the small scale exchanges. opening are balanced by these larger TheGerman Dances K 509 are notable No less remarkable than the fantastic The conspicuous broken chords that structural areas, creating a tension between in two respects: firstly, they were later playfulness of the Dances K 509 is the conclude the exposition as well open the individual gestures and wider tonal vistas. transcribed for orchestra, the reverse of Rondo in A Minor, K 511, which reveals a development (bars 57 to 60) are derived The highly virtuosoFinale , once again the more common procedure; secondly, different aspect of Mozart’s late style. In it we find less of the focus on concentrated density of texture, and the C Sharp Major with repeats and a particularly moving coda developmental character of the second structure as a path to higher abstraction – episode within this section presents such in the major, it recalls forlorn moments section (from bar 17) that lifts this piece instead it presents an increased degree of melodic wealth in its inner voices, such in Schubert, with its highly expressive, from the level of conventional dance to that expression that refers back to the minor key rich chromaticism as to come close to the chromatic dialogue between melody and of individual, possibly irritating character works of the middle period. The autograph character pieces of Schubert; in a similar motivic gestures, frequently interrupted piece. The Gigue, mostly written in a fugal contains an unusually large number way the three-in-a-bar lilt of the opening by the archaically polyphonic main style, shares this genre-transcending of performance indications, possible theme seems to foreshadow the melancholy subject. Consisting of a falling fourth and nature: whilst it retains the constant quaver more than any other work by Mozart, of Chopin Waltzes. A clearly defined coda ascending sixth, with an almost Wagnerian movement typical of a dance gigue, it demanding a large degree of commitment (bar 163) follows the last entry of the main dissonance and resolution, this main features such dense chromatic harmonies, and flexibility from the performer. It is theme and closes this first of the great subject evokes the opening of a fugue, such uncommonly wide figurations and sharp tempting to conclude that Mozart was quite romantic character pieces. as the Gesang der Geharnischten from the syncopations as to feel more like an ironic aware of the unfamiliar nature of the piece, TheAdagio in B Minor, K 540, is Magic Flute. comment on a dance. As brief as both with its premonitions of Schubert and equally atypical of Mozart’s style and The almost grotesque, neoclassical pieces are they equally demonstrate the even Chopin, and wished therefore to give of contemporary convention. It could sounding Little Gigue, K 574, and the no avant-garde impulses of Mozart’s late style, special care to the details of its execution. conceivably originate as an orphaned slow less exotic Menuet, K 576b, could formally not merely expanding the limits of typical From a compositional point of view an movement from a Sonata, but its highly be orphaned movements from a Suite. The genres but occasionally demolishing and unusual feature is the extended length of unusual character makes a solitary Gigue was written by Mozart as an album dissolving them. the episodes, especially bars 31 to 81 before existence more appropriate. According leaf for the Saxonian court organist and The following pieces were not the third entry of the rondo theme. This is to his work list, Mozart composed this fellow free mason Karl Immanuel Engel on originally composed for the piano and date an exceptional realisation of an extended, piece, as peculiar as it seems in the context May 16th 1789, presumably reflecting their from Mozart’s last year, 1791. TheAndante highly sophisticated rondo episode; the of the Viennese style, on March 19th mutual interest in J.S. Bach and Händel. K 616 was conceived for mechanical ornamented upbeat at the beginning refers 1788. The manuscript is once again full of The Menuet was left undated, and was organ and the Adagio K 617a for a glass to the main rondo theme, lifting the piece performance indications, leading to similar only published in 1801 with a trio added by harmonica. Both works emphasize the to a new level of complex sonata-rondo, one conclusions as in the case of K 511. It seems Maximilian Stadler; however, it is clearly abstract nature of Mozart’s late style, that Beethoven was later to employ in his much like a personal confession, in similar a product of Mozart’s late style, possibly not least in their choice of instruments; own Sonatas. The following middle section mould as the Maurerische Trauermusik, from 1789. It is the dense chromaticism both works are however well suited to in A Major (bar 89) generates a surprising K 479a. Written in modified binary form of the main subject and the unusual performance on a modern piano with its possibilities of tone colour and articulation. The highly complex piece is tonally much Executive producer: Eckart Rahn Due to the constraints of the glass like a sophisticated music box; the rondo Recorded by Christian Böhm, Sebastian harmonica, both melody and left hand form allows for much ornamentation and Braun, Andreas Fischer & Ulrich Kraus accompaniment of the Adagio are written variation. The result is a fascinating blend Hamburg Steinway D in the higher register, and contain little of artificiality in mostly soft dynamics and Bösendorfer Imperial variation in dynamics; the result is a the abstraction of automated processes. The Recorded 2012/2013 virtually dematerialised work with few frequent baroque-derived elements increase at the Concert Hall of the notes and a magical atmosphere. Carefully the effect of disassociation, inviting Bavarian State Music Academy, Munich placed ornaments in the repeats can the listener to succumb to its pure and except CD 1 recorded 1995 increase the transcending nature of this transcendental sensuality. at Tonstudio Ulrich Kraus small miracle of a piece even further. It Notes by Siegfried Mauser was composed for the young blind glass Sieg fried Mauser Translation: Béla Hartmann harmonica virtuoso Marianne Kirchgessner Translation: Béla Hartmann on the occasion of an academy concert on the 19th of August 1791 in the Vienna Kärntnertor-Theatre. TheAndante K 616 is a more varied work, entered into Mozart’s work list on May 4th 1791. In spite of the enlarged scope of the writing, the abstract nature ℗ 2014 of the music is still unmistakeable, not Celestial Harmonies least because of the once again high P.O. Box 30122 register. It was originally written for a Tucson, Arizona 85751-0122 Flötenuhr—a term coined by Mozart—i.e. www.harmonies.com a mechanical organ regulated by a clock, [email protected] but already during Mozart’s lifetime it was republished as a Rondo for piano solo. 07869 complete edition 19925-2 volume 1 14326-2 volume 2 14328-2 volume 3 14330-2

▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌▌

▌▌▌▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▋▌▌▌▌