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.