Exposition- m. 1-28- C major
Theme 1- m. 1-12- C major
Theme 2- m. 14-28- measure 13 acts as somewhat as an introduction; with the F# this section turns to G/D major
Development- m. 29-41 F major with runs
Recapitulation- m. 42-73,
Theme 1 in F majorFirst Theme- m. 42-57- back to C major
Theme 2- m. 58-73, which ends in C major, but briefly in G/D major
In Mozart's Piano Sonata in C major, K. 545 is in sonata form. Too bad that the title is not sufficent proof of that. What amazes me about Mozart is his ability to take simple harmonies and make them so unbearably exciting. In measures 5-10, the runs are so very exciting to the listener. Anyone who appreciates piano virtuosity will fine this so incredibly pleasing. Speaking of piano virtuosity, measure 11 will never cease to excite me. The build from measure 10 with the runs in the RH and dotted quarter eigthth notes in LH, then switch it to stacato eigthths in RH and 16th note arpeggiations. Mozart messes with our sense of tonic by ti-do-ing C# to D, then adds F#s into the mix.
Mozart has that certain something that no other composer I can think of has achieved. I think it is the ability to be cheeky and honest in the same piece, to be innocent and devilish in same piece. When Mozart writes runs, you can feel yourself lifted up out of your seat and you can fly. At risk of sounding stupid, that is what Mozart does to me. Then sense of control established is unparalleled.