Mozart: Piano Sonata No. 1 in C major, K.279 [Uchida]

I. Allegro (0:00)
II. Andante (4:50)
III. Allegro (10:34)

Piano: Mitsuko Uchida

Mvt 1: Allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1), stated twice. The first Motive (M1) consists of alternating semitones (C-B-C) in LH.
(00:09) Counter-Theme 1 (P2), a cute melody jesting with lower leading-tones.
(00:16) Counter-Theme 2 (P3), alternating tonic and subdominant arpeggios.
(00:23) Return and expansion of M1 across three octaves. This motivic recurrence, followed by a Half-Cadence, indicates the end of the Primary Section.
(00:31) M2 (appoggiatura and note) leading to a brief harmonic Transition: E7 (VI/V), D7 (V/V), G.
(00:39) Secondary Theme (S1) in G major.
(00:43) Counter-Theme 3 (S2), descending scales.
(0:50) Variation of S1. Notice how M2 gradually takes over until it arpeggiates an Am chord (ii/V) that induces a cadence back to
(1:02) S2, now arpeggiated. The left hand starts to assume the shape of P1, until this Motive invades both RH and LH of the second variation of S2 (G-F#-G).
(1:10) Codetta. A G major scale leads to a full statement of P1 in the dominant and concludes the Exposition with four juxtaposed statements of M1.
DEVELOPMENT
(2:36) Episode 1: P1 through various keys: Gm, A7, Dm, G7, C, B♭.
(2:49) Episode 2: Sequential Transition (maybe developing S2?).
(2:55) Episode 3: Development of P2.
(3:02) Episode 4: Sequential treatment of P1, leading to
RECAPITULATION
(3:14) P1.
(3:23) Modified P2, concluding with a Half-Cadence in preparation for a Secondary Section in the tonic. At 3:35, M1 is expanded in the dominant.
(3:40) Transition leading to the tonic: A (VI), G (V), C.
(3:49) S1 + S2 in the tonic.
(4:04) P3 appears way too late, interrupting the Secondary Section. This delayed appearence of P3 creates a comical effect, if you recognize when it should have been recapitulated.
(4:13) A familiar Half-Cadence brings back the awaited variations of S1 and S2.
(4:34) Coda.

Mvt 2: Andante [Sonata-Form]
EXPOSITION
(4:50) Primary Theme (P1), three repeated dominant notes with expanding ornamentation.
(4:58) Counter-Theme 1 (P2).
(5:08) Counter-Theme 2 (P3), a very tender melody.
(5:14) Brief Transition.
(5:19) Secondary Theme (S1) in C major. Interestingly, this Theme also consists of repeated dominant (V/V) notes, but way more embellished (with many appoggiaturas and two parallel counter-melodies) and augmented (instead of three beats, three measures).
(5:32) Counter-Theme 3 (S2), chromatic line.
(5:44) Counter-Theme 4 (S3), fragmented melodies with some variations.
(5:57) Cadential Theme, repeated chords interrupting false entries of S3.
(6:04) Codetta.
DEVELOPMENT
(7:56) Episode 1: P1 in the dominant. It effortlessly slips into the minor secondary-dominant.
(8:12) Episode 2: P2 in D minor.
(8:24) Episode 3: back to G minor, now developing fragments of P3.
(8:37) Cadence leading to
RECAPITULATION
(8:40) P1.
(8:46) P2. The second time, it brings back that unstable diminished feeling from the Development.
(8:56) In order to transition to S1 in the tonic, S4 is antecipated.
(9:02) S1 + S2 + S3 in the tonic.
(9:47) Again, S4 followed by a Cadence.
(10:03) P3 appears too late, forcing the Coda to wait (haven't we experienced this already?!)
(10:12) A brief shadow of S3 before the Coda.

Mvt 3: Allegro [Sonata-Form]
EXPOSITION
(10:34) Primary Theme (P1). Motive 1 (M1) consists of a perfect fourth ascending leap.
(10:44) Transition Section.
(10:54) Secondary Theme (S1), descending by thirds.
(11:03) Counter-Theme 1 (S2).
(11:08) Counter-Theme 2 (S3).
(11:15) Cadential Theme and Codetta.
DEVELOPMENT
(12:14) Episode 1: S1 in RH (V), S1 in LH (vi), modulation to Em.
(12:32) Episode 2: P1 and M1 through multiple keys, alternating hands (Em, Dm, C).
RECAPITULATION
(12:41) P1. The second statement is now in LH, recalling the Development.
(12:50) Transition.
(13:01) S1 + S2 + S3 in the tonic.
(13:25) The RH decides to re-estate S1 but it ends up straying itself. The LH, annoyed by the incompetence of its fellow hand, humorously takes up S1 in heavy octaves.
(13:35) Finally, the Cadential Theme and Coda.