Mozart: Sonata for Two Pianos in D major, K.448

(0:00) Allegro con spirito
(5:47) Andante
(12:48) Allegro molto

Mvt 1: Allegro con spirito [Sonata form]
EXPOSITION
(0:00) Primary Theme (P1) in D major, presented in unison by the two pianists.
(0:07) First Counter-Theme (P2). A gentle conversation in scales begins, as simple as possible.
(0:28) Transition Section. Piano II echoes the descending arpeggios of Piano I, as we approach the secondary dominant (D, Bm, G, E7).
(0:41) Pedal point in the secondary dominant (E7).
(0:57) Secondary Theme (S1) in the dominant (A major). Piano II enunciates a soothing melody while Piano I comments with little hoots. The theme is repeated, but now the dialogue happens imitatively between both LHs and RHs.
(1:25) Second Counter-Theme (S2). The transitional scales return, rising diatonically above a dominant pedal point; this time, Piano I echoes II. At 1:37, the echo-effect is applied to chords.
(1:50) Third Counter-Theme (S3). Descending sequence.
(2:07) Cadence using scales in unison.
DEVELOPMENT
(2:21) Episode 1: Piano II utters a new theme in A major (D1) in parallel octaves. At 2:29, Piano I repeats it while a counter-subject is stated by Piano II.
(2:38) Episode 2: Development of D1. The melody appears in D minor, then it keeps changing as a dialogue between the two pianos emerges and dissolves into fragments.
(3:07) Cadence, tonic preparation.
RECAPITULATION
(3:12) P1 + P2. At 3:39, P2 slips into the subdominant (G major).
(3:43) Modified Transition Section (G, Em, A7, D).
(3:58) S1 + S2 + S3 in the tonic.
(5:08) Sudden intrusion of D1 in the tonic. The theme is finally incorporated into the recapitulation.
(5:29) Coda.

Mvt. 2: Andante [Sonata form]
EXPOSITION
(5:47) Primary Theme (P1) in G major.
(6:26) First Counter-Theme (P2). The strettos produce some marvellous dissonance. The melody slides into the secondary dominant (A major), leading us straight to
(6:57) Secondary Theme (S1) in the dominant (D): melodic fragments above an ostinato.
(7:50) Second Counter-Theme (S2).
(8:25) Cadence.
DEVELOPMENT
(8:37) Episode 1: appearance of a new theme (D1) in the dominant.
(9:30) Episode 2: a sequence of modulations that prepares us for the tonic (Dm, E, Am, B, Em, Am, D7).
RECAPITULATION
(9:54) P1 + Modified P2. Instead of going to the subdominant, at 10:54 we start modulation in a circle (G7, C, Am, D7, G).
(11:06) S1 in the tonic (G major).
(11:59) Instead of S2, we hear some chords, culminating in a dim7 arpeggio.
(12:21) Coda.

Mvt. 3: Allegro molto [Sonata-Rondo]
(12:48) Theme A in D major. The turning figure is Motive 1.
(13:15) Transition Section, modulating to the dominant (A major).
(13:37) Theme B1 in A minor. It then modulates to the relative, C major. At 13:54, we go back to Am, until a long trill suspends the momentum.
(14:32) Theme B2, now in the 'right' key of A major. A sequence of warm chords followed by a fast dialogue between pianos.
(15:02) Transition, using motives from Theme A.
(15:18) Theme A in the tonic. At 15:34, a sudden deviation to D7 leads us directly into
(15:38) Theme C in the subdominant (G major): the theme is presented in a Small Ternary structure, the two pianos taking turns to enunciate each phrase.
(16:19) Modified Transition Section, preparing for the dominant.
(16:41) Theme B1 in the parallel minor (Dm).
(17:43) Theme B2 in the tonic.
(18:18) Theme A appears abruptly for the last two times.
(18:56) Coda based on Theme A's motifs.

Piano 1: Lucas Jussen
Piano 2: Arthur Jussen

This video is dedicated to ‪@user-jx5xn3gz4t‬.