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

I. Allegro (0:00)
II. Andante (4:19)
III. Allegro (9:50)

Piano: Glenn Gould

Mvt 1: Allegro
EXPOSITION
(00:00) Primary Theme (P1), stated twice. The first Motive (M1) consists of alternating semitones (C-B-C) in LH.
(00:10) Counter-Theme 1 (P2), a cute melody jesting with lower leading-tones.
(00:19) Counter-Theme 2 (P3), alternating tonic and subdominant arpeggios.
(00:28) Return and expansion of M1 across three octaves. This motivic recurrence, followed by a Half-Cadence, indicates the end of the Primary Section.
(00:37) M2 (appoggiatura and note) leading to a brief harmonic Transition: E7 (VI/V), D7 (V/V), G.
(00:46) Secondary Theme (S1) in G major.
(00:51) Counter-Theme 3 (S2), descending scales.
(1:00) Variation of S1. Notice how M2 gradually takes over until it arpeggiates an Am chord (ii/V) that induces a cadence back to
(1:14) 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).
(1:24) 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
(1:34) Episode 1: P1 through various keys: Gm, A7, Dm, G7, C, B♭.
(1:49) Episode 2: Sequential Transition (maybe developing S2?).
(1:57) Episode 3: Development of P2.
(2:06) Episode 4: Sequential treatment of P1, leading to
RECAPITULATION
(2:22) P1.
(2:32) Modified P2, concluding with a Half-Cadence in preparation for a Secondary Section in the tonic. At 2:47, M1 is expanded in the dominant.
(2:53) Transition leading to the tonic: A (VI), G (V), C.
(3:04) S1 + S2 in the tonic.
(3:24) 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.
(3:30) A familiar Half-Cadence brings back the awaited variations of S1 and S2.
(3:59) Coda.

Mvt 2: Andante
EXPOSITION
(4:19) Primary Theme (P1), three repeated dominant notes with expanding ornamentation.
(4:23) Counter-Theme 1 (P2).
(4:42) Counter-Theme 2 (P3), a very tender melody.
(4:50) Brief Transition.
(5:02) 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).
(5:15) Counter-Theme 3 (S2), chromatic line.
(5:32) Counter-Theme 4 (S3), fragmented melodies with some variations.
(5:50) Counter-Theme 5 (S4), repeated chords interrupting false entries of S3.
(6:04) Codetta.
DEVELOPMENT
(6:20) Episode 1: P1 in the dominant. It effortlessly slips into the minor secondary-dominant.
(6:37) Episode 2: P2 in D minor.
(6:59) Episode 3: back to G minor, now developing fragments of P3.
(7:11) Cadence leading to
RECAPITULATION
(7:21) P1
(7:25) P2. The second time, it brings back that unstable diminished feeling from the Development.
(7:41) In order to transition to S1 in the tonic, S4 is antecipated.
(7:56) S1 + S2 + S3 in the tonic.
(8:53) Again, S4 followed by a Cadence.
(9:13) P3 appears too late, forcing the Coda to wait (haven't we experienced this already?!)
(9:24) A brief shadow of S3 before the
(9:29) Coda.

Mvt 3: Allegro
EXPOSITION
(9:50) Primary Theme (P1). Motive 1 (M1) consists of a perfect fourth ascending leap.
(9:57) Transition Theme 1 (Tr1).
(10:02) Transition Theme 2 (Tr2), second time an octave below (just like P1).
(10:04) Secondary Theme (S1), descending by thirds.
(10:10) Counter-Theme 1 (S2).
(10:14) Counter-Theme 2 (S3).
(10:19) Conclusive Theme (in two octaves, as P1 and Tr2). Codetta.
DEVELOPMENT
(10:26) Episode 1: S1 in RH (V), S1 in LH (vi), modulation to Em.
(10:40) Episode 2: P1 and M1 through multiple keys, alternating hands (Em, Dm, C).
RECAPITULATION
(10:46) P1. The second statement is now in LH, recalling the Development.
(10:53) Tr1 + Tr2.
(11:01) S1 + S2 + S3 in the tonic.
(11:20) 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.
(11:27) Finally, the Conclusive Theme and Coda.