Essay about Mozart k310 sonata (2nd movement) - 2428 Words

Mozart k310 sonata (2nd movement) Analyzation The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways. It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run pick-up instead of the 16th note arpeggio pick-up in the the begginning of the piece so we are prepared for variation in the second statement of the first theme. He then continues the theme with variation until the consequent phrase which is completely different from the first consequent phrase. This new consequent has not only faster rythmic movement but also compressed harmonic rythym. This tension†¦show more content†¦The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and then I. This is even more confusing because the scale that accompanies the I chord implies V (the chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii-V-I) but the exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two beats create even more prolongation as they nearly modulate. And even after this, the exposition is not done. There is a two bar codetta (a one bar figure played twice, the second time with variation) before the strong V7-I cadence with a C pedal tone. This is the first very strong cadence since the start of the closing material. Since the cadence at the end of the exposition is to C without any hint of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick-ups are a C arpeggio and the first bar looks and sounds like I and shows no indication of a ‘Bb’ or any other scale alteration. The opening of the developement is also a textural change but seems to resemble old material in its melody. Both the first theme and the second theme have similar figures to the new material. The developement starts with tonal mov ement in each of the first two measures, I in the first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the first two beats and a V7 in