Analysis
Contents
First Movement (Andante Grazioso)
Form: Air with Variations. A Major.
The construction of this sonata is unusual because it contains no movement whatever in sonata form, and because of the form in which the opening movement is written, viz., that of an air with variations.
Air and Variation IV:
The fourth variation is rendered very distinctive by the continual crossing of the left hand over the right.
A: First sentence in A major (Tonic).
- Bars 1-4: First phrase ending on half-cadence.
- Bars 5-8: Second phrase – the theme of the first phrase modified to close with a full cadence.
Double bar and repeat.
B: Second sentence in A major.
- Bars 9-12: New phrase ending on half-cadence.
- Bars 13-18: Return to the second phrase of A, prolonged by cadential repetitions to six bars. The double upward suspensions over the tonic bass, in Bar 16, should be noted. 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 sharp would, however, be looked upon by some theorists merely as an accented auxiliary note.
Double bar and repeat.
Variation I and II:
The first variation is characterized by semiquaver (sixteenth note) figures, principally in the treble part, in which the second entry of every two semiquavers is usually the melody note.
The feature of the second variation is the continuous movement of semiquavers (sixteenth notes) in triplets.
A: First sentence in A major (Tonic).
- Bars 1-4: First phrase ending on half-cadence.
- Bars 5-8: 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.
- Bars 9-12: New phrase ending on half-cadence.
- Bars 13-16: Return to the figures of the first phrase in A, which, however, reproduce the theme as modified in the second phrase.
- Bars 17-18: N.B. – In the cadence repetition the figures change and revert to those of the second phrase in A.
Double bar and repeat.
VARIATION III:
In the third variation (in the key of the tonic minor), the semiquaver (sixteenth note) 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.
In A minor (the Tonic minor). For the thematic scheme, see Variations I and II.
VARIATION V:
Adagio.
Characterised by demisemiquaver (thirty-second) figures. In this variation the melody notes are again frequently displaced 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 modulation occurs.
A: First sentence in A major (Tonic).
- Bars 1-4: First phrase ending on half-cadence.
- Bars 5-8: 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).
- Bars 9-12: New phrase, modulating to D major (Subdominant), returning (Bar 11) to A major, in which key it ends on a half-cadence.
- Bars 13-18: Return to the figures of the first phrase in A, but for two bars only, the theme (as hitherto) reproducing the melody as modified in the second phrase.
Double bar and repeat.
VARIATION VI:
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.
Allegro. For thematic scheme, Bars 1-18, see Variations I and II.
Bars 18-26: Coda. It should be notes that the apparently exceptional use of the cadential 6/4, in Bar 23, is caused by the wrong barring of this movement. Were the movement correctly barred, the position of this chord would be perfectly regular.
Second Movement (Menuetto)
Form: Minuet and Trio. A Major.
This is the second of Mozart’s pianoforte sonatas which contains a Minuet and Trio, the only other one being Sonata IV in E flat major.
PART I:
Menuetto in A major:
Bars 1-10: Part i(a): First Sentence in A major (Tonic).
Bars 11-18: Part i(b): Second Subject in E major (Dominant).
Double bar and repeat.
Bars 19-30: Part ii: Passage starting in B minor, modulating and ending on half-cadence in A minor. Note that Bars 23-26 are sequential to Bars 19-22; and that Bar 29 contains the chord of the German sixth, the previous bar containing a chord of the augmented sixth “in outline.”
Bars 31-48: Part iii: Repetition of Part i, both sentences in the tonic. Note that the sentence overlaps in Bar 41; and that in the final cadence in Part I (repeated in Part III) the penultimate chord starts as the dominant thirteenth.
Double bar and repeat.
PART II:
Trio in D major (Subdominant): 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.
Bars 1-16: Part i: Sentence in D major (Tonic) and A major (Dominant). 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.
Double bar and repeat.
Bars 17-32: Part ii: Passage starting in E minor, modulating through C major, and ending on half-cadence in D minor.
Bars 37-52: Part iii: Repetition of Part i, modified, and entirely in the Tonic.
Double bar and repeat.
PART III:
Menuetto D.C.
Third Movement (Alla Turca)
Form: Ternary Form. A Minor.
PART I:
Bars 1-8: Part i: Eight-bar sentence in A minor (Tonic) and E minor (Dominant minor). It should be noted 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 Part II, being in the key of A major.
Bars 8-16: Part ii: Eight Bars in C major (relative major) and A minor (Tonic). The second phrase in this passage is 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.
Bars 16-24: Part iii: Return to first phrase of Part i, in Tonic, followed by a new second phrase in Tonic. The first phrase in Part iii is a repetition of the opening phrase in Part i, altered at the last chord (Bar 20) to end on the chord of the German sixth.
Double bar and repeat.
PART II:
Bars 24-32: Part i: Eight-bar section in A major. The second part opens and closes with a section of eight bars in A major.
Double bar and repeat.
Bars 32-40: Part ii(a): Eight-bar sentence in F sharp minor and C sharp minor. The middle portion starts with a sentence in F sharp minor, which modulating, ends on a perfect cadence in C sharp minor, Bar 40.
Double bar and repeat.
Bars 40-48: Part ii(b): Eight bar sentence in A major.
Bars 48-56: Part ii(c): Repetition of Part ii(a), modified and entirely in the key of F sharp minor.
Double bar and repeat.
Bars 56-64: Part iii: Repetition of Part i (unaltered).
Double bar and repeat.
PART III:
Bars 64-88: Repetition of Part I in original key (unaltered and with double bars and repeat)
Bars 88-96: Repetition of the opening section of Part II in A major, slightly modified. The first section of Part II, in slightly modified for, is here interpolated between the close of Part III and the commencement of the coda.
Double bar and repeat.
Bars 96-127: Coda. New theme (Bars 96-109) followed by a repetition of the same theme, slightly varied and extended (Bars 109-127). The theme of the coda is new, and hitherto unbroken four-bar phrases here given 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.
