Mozart: Piano Sonata in B, Movement I

Mozart

Born in Austria 27th January 1956

Died in 1791
Piano sonatas were intended as teaching pieces and were published

for the amateur market.

K.333 refers to the position of the piece in the chronological
order of Mozarts work made by Austrian musicologist, Kochel.

Background to the
Piece

Written in 1783
During this time, the late Baroque contrapuntal style of Bach had

given way to the elegance of the Classical style

Piano started to replace the harpsichord as the keyboard

instrument of choice at home and in the concert hall.

Although the C18th piano was lighter in tone than the modern
piano, it was sufficiently powerful for Mozart to show off his

Features of the
Classical Style

Structure

virtuosity and was capable of delicate dynamic effects.

First published in Vienna in 1784
One of 3 sonatas (two for piano and one for violin and piano)
K.333

Use of the piano (fortepiano) instead of harpsichord

Simple melody-dominated homophony
Broken chord accompaniment
Alberti-bass accompaniment
Sonata form
Functional tonality
Harmony uses root, first and second inversion chords
Balanced phrasing (antecedent and consequent)

Sonata 3 movements (fast-slow-fast). This is the first movement

of the sonata.
It is in sonata form closely connected to the Sonata style.
3 main sections, each identified by the key.

Exposition: bars 1-63

First subject (key B): bars 1-10
Transition/bridge passage: (B-F (Chord V): bars 10-22
Second subject (key F): bars 23-50. Two main themes, first

(bars 23-38) and second (bars 39-49)

Codetta (key F): bars 50-63

Development: bars 63-93

Begins in F, with material from the first subject.
F minor at bars 71 from here the development is thematically
independent of the exposition, and there is dominant
preparation (major emphasis on chord V of B flat) from bars
87-92.
Exposition: bars 93-end
First subject (key B): bars 93-103
Bridge passage/transition (B, with a few chromatic moments:

Forces

bars 103-118
Second subject(B): bars 119-152
Coda (B): bars 152 -165
The Classical pianoforte had a more delicate sound than the
modern piano the ability to play softly and loudly is reflected in

the name (a feature lacking on the harpsichord)

Dynamics were subtle many of the bars have no dynamic
markings, but we can be sure that players of the time would have

performed with frequent dynamic changes.

Main advantage of the instrument was its ability to provide a

softer left hand accompaniment to a right hand melody.

Alberti bass
Pitch range was relatively confined. E.g. much of the left hand is in
the treble clef in the first two bars.

Tonality

Functional tonality modulations define the structure

There are modulations to the dominant and other related keys
Perfect cadences reinforce the tonality at various points (e.g. the

tonic on bars 9-10).

Dominant pedals add further strength to perfect cadences (e.g.
bars 57-58).

Harmony

Clear harmonic progressions with regular cadences to define keys.

E.g. perfect cadence in bar 10.

The modulation to the dominant (F major) in bars 11-22 is clear

the E natural occurs with increasing frequency in these bars.

Much of the harmony is based on simple triads.
Chromatic harmony is evident in the development section:
- Diminished 7th chords in bars 67 and 69
- Minor version of chord IV (E flat minor) in bars 76
- Augmented 6th chords on the last two beats of bars 80 and

Melody

82 - these resolve to chord V (as expected

Cadential 6/4 chord Ic used as the approach to a perfect

cadence, forming the progression Ic V I. E.g. in bars 57-59.

Perfect Cadences mark out important structural points in the

piece
Imperfect cadences mark the end of the transition/beginning

of the second subject in the exposition. E.g. bars 21-22

Functional harmonies chords I and V are the most frequently

used chords in the exposition

Circle of 5ths e.g. the exposition (bars 47-8) and recapitulation

(bars 143-146).
Dominant Preparation e.g. bars 87-92.

Periodic phrasing pairs of equal length phrases sounding like

questions and answers. E.g. 8 bar phrase (bar 23) ending with an
imperfect cadence in F major, answered by an 8 bar phrase (bar

31) ending with a perfect cadence.

1st subject consists of a four-bar phrase, answered by a 6-bar

extension. Mozart avoids predictability in his periodic phrasing.

Melodies are often extended by the use of a sequence
Much of the music is conjunct (e.g. opening 6 notes).
Large leaps are rare (e.g. descending minor 7th in bar 43)
Ornamentation includes appoggiaturas, both diatonic and
chromatic)
- Appoggiatura bar 2 (F), RH
- Chromatic appoggiatura bar 110 (C), RH

Rhythm

Simple, quadruple time with anacrusis

Syncopation in 1st subject
Continuous semiquaver movement is a feature of the end of the

second subject
Dotted rhythms are sometimes used. E.g. near the beginning of
the development, bar 65.

Texture

Melody-dominated homophony the chief focus of the music is

the ornate right hand melody supported by broken chords in the

left hand accompaniment.

Thin textures the first 22 bars are almost entirely two-part

texture.
Occasional octave doublings. E.g. bars 22-24 (LH), bars 43-44

(RH)
The LH features broken chord accompaniment (e.g. bars 1-8) or

alberti-bass (e.g. bars 71-80)

Alberti bass is combined with a dominant pedal in bars 57.
Occasional monophonic passage. E.g. bar 8
Occasional fuller chord. E.g. 6-note chord in bar 23.