Monday, May 09, 2005
Mozart: Piano Sonata in B-Flat, K.333, III
Once again I must say I really love this entire piece and this movement is no exception. However, the Sonato-Rondo form just seems gratuitous. I think that composers ran out of forms around 1770 and decided to just run two things together until it sounded good. Anyway, the A section is a parallel double period, with a PAC at 8 and another very similar one at 16. In between (at 4 and 12) we have half cadences. This is our Primary Theme that will be further developed. From 16 until 21 we have a transition that brings us to our super-fun dominant key. At 21 we begin our B section, which in in the dominant key and feels very devlopmental, since we have a lot of virtuosic fireworks going on, with 16th-note runs keeping the harmonic rhythm moving forward furiously. There is no real cadence until 36, where we PAC in the dominant. The next 4 measures serve as a transition back to our original material and the return of A. This A section is almost an exact copy of the original, with slight variation. The C section begins right after the A section and is significantly longer than the other two sections we've had so far. The movement is also developmental, using heavy chromatics as well as dotted-rhythmic patterns to break up the monotony. The section is in the key of iii (relative minor to the dominant). This section lasts from measure 64 all the way until 112. we have a large ritardando at the end of this section, in which we slowly modulate back to our original key for another repeat of the A section. The following D section somewhat echoes the B section in rhythmic pattern and really gives the piece a rounded feel. D meanders back to A at 173...but we realize it's not in the right key. Pysch-out aside, we return to the transitional section and return to the real A at 189 and bring this heffer back into the barn.