Mozart: Piano Sonata No. 13 in B♭ major, K.333 [Uchida]

I. Allegro (0:00)
II. Andante cantabile (6:58)
III. Allegretto grazioso (14:25)

Piano: Mitsuko Uchida

Mvt 1: Allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1), a nice and serene melody. The descending four sixteenth-notes are the fist Motif (M1) and the three crochets are M2 (C-B♭-B♭). At 0:07, we hear the two motifs being briefly developed.
(0:18) Transition Section, starting with a low-registered P1. At 0:26, M1 is further developed, reinforcing the secondary dominant (C7).
(0:40) Secondary Theme (S1) in F major, assertive and confident.
(1:06) Counter-Theme 1 (S2).
(1:29) Counter-Theme 2 (S3).
(1:44) Cadential Theme.
DEVELOPMENT
(3:47) Episode 1: P1 appears in the dominant, but keeps being interrupted by a new Motif that eventually takes over.
(4:01) Episode 2: sudden shift to F minor, bringing back the scales from S3 and modulating extensively.
(4:26) Episode 3: preparation for Recap through the development of M1 (recalling the Transition).
RECAPITULATION
(4:41) P1.
(5:00) Modified Transition, once again beginning with P1 and focusing on the development of M2.
(5:28) S1+S2+S3 in the tonic.
(6:42) Coda.

Mvt 2: Andante cantabile [Sonata-Form]
EXPOSITION
(6:58) Primary Theme (P1) in E♭ major.
(7:26) Transition Section. The three repeated notes are M1.
(7:49) Secondary Theme (S1) in B♭ major. M1 reappears.
(8:15) Counter-Theme 1 (S2), developing M1 even further.
(8:46) Cadential Theme.
DEVELOPMENT
(10:58) Episode 1: Very unexpected and strange diminished harmonies take over P1, followed by the development of M1.
(11:40) Episode 2: reoccurrence of the Transition Section, modulating across many keys in search of the dominant (A♭, C7, Fm, A♭7, D♭m, A♭m, B♭7)
(11:57) Episode 3: M1 is developed even further, in preparation for Recap.
RECAPITULATION
(12:11) P1, heavily ornamented.
(12:39) Modified Transition Section.
(13:01) S1+S2 in the tonic.
(14:00) Coda.

Mvt 3: Allegretto grazioso [Sonata-Rondo form]
SECTION A
(14:25) Theme A (A1), very tender and sweet.
(14:46) First Transition.
SECTION B
(14:57) Theme B (B1) in the dominant, F major.
(15:04) Counter-Theme 1 (B2).
(15:14) Second Transition, consisting of two themes: a syncopated note (Tr1) and an arppegiated chord (Tr2).
SECTION A
(15:21) Return of A1. At 15:49, Tr2 deflects the harmony to D7, dominant of Gm.
SECTION C
(15:55) Theme C (C1) in the relative, G minor. Preserving the tenderness of A1, this theme brings a bittersweet flavour.
(16:12) Counter-Theme 2 (C2) in the subdominant, E♭ major. Its dotted rhythm produces an agitated, edgy feeling.
(16:24) At this point, we comically start searching for a way back to A1, but keep getting lost. The only part of Theme A that can be remembered is that ascending-note pattern, which turns into a new motif (M1).
(16:34) A1 comes back, but we're still in the wrong key (Cm, relative of the subdominant). The ascending motif then helps us find the tonality we want (B♭), but in the wrong mode. At last, M1 asks Tr1 for help, and we finally encounter A1 again.
SECTION A
(17:04) A1.
(17:26) The Transition is modified and extended a lot, in order to keep us in the tonic.
SECTION B
(17:54) B1+B2 in the tonic. This is a movement in Sonata-Rondo form, after all.
(18:19) Tr1 resurfaces, but all of a sudden comes to a halt.
(18:32) As if we were listening to a Concerto, a written Cadenza stars to play, developing A1 together with Tr1 and Tr2.
SECTION A
(19:43) Finally, the last statement of A1 comes along.
(20:04) The Coda of the movement is based on this beautiful variation of Theme A. It's very exciting how Mozart keeps developing his themes up until the very last moment.