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AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement

1. Date and place of composition:

………………………………………………………………………………………………………………………………

2. Genre:

…………………………………………………………….

3. Instrumentation:

…………………………………………………………….

4. First performance:

………………………………………………………………………………………………………………………………

Structure Rounded Binary Form A

B

A1

Tonic with modulation to related key at end of section (dominant)

Starts in dominant key but passes through several keys before the return of A.

Tonic

Exposition

Development

Recapitulation

Tonic with modulation to related key at end of section (dominant)

Commences in dominant but passes through several keys before the recapitulation

Tonic

Early Sonata Form

Sonata Form Exposition

1st subject

Transition

2nd subject Codetta

tonic

modulation to related key

dominant or relative major

‘Transition’ is an alternative term for ‘bridge’.

AS Music 2014/15

Development

Recapitulation

Commences in a related key but passes through several keys before preparing for a return to the tonic for the recapitulation

1st subject

Tonic

Transition

2nd subject

Coda (tonic)

Tonic

Tonic

The transition in the recapitulation is also tonally unstable, but returns to the tonic.

Mozart: Piano Sonata in Bb, Kv. 333, first movement

1. Date and place of composition:

………………………………………………………………………………………………………………………………

2. Genre:

…………………………………………………………….

3. Instrumentation:

…………………………………………………………….

4. First performance:

………………………………………………………………………………………………………………………………

Structure Rounded Binary Form

Early Sonata Form

Sonata Form

‘Transition’ is an alternative term for ‘bridge’.

The transition in the recapitulation is also tonally unstable, but returns to the tonic.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement

Exposition (bars 1-63)

Development (bars 634-933)

Recapitulation (bars 934 – end)

In this section the composer ‘exposes’ or presents his musical material. The main ideas are called subjects – though each of these may consist of a group of ideas, rather than a single melody. The two subjects are contrasted in key, and usually in mood and character. 1st subject The first theme (or group of themes) in a Bars 1-103. The first subject sonata form piece, appearing first in the consists of 5 x 2-bar exposition in the tonic key. phrases. Transition A section of music, found between the Bars 104 – 23. Notice how first and second subjects in a sonata the number of E naturals form piece, which dislodges the tonic key gradually increases during of the first subject and modulates to the these bars. The transition key of the second subject (usually the ends on chord V of the new dominant or the relative major/minor). key, F major. 2nd subject The second theme (or group of themes) Bars 23 – 49. Two themes: in a sonata form piece. The second theme 1 (bars 23-38) and subject or subject group is usually in a theme 2 (bars 39-49). The contrasting key to the first subject, such first theme consists of two as the dominant. equally balanced phrases. The question phrase (antecedent) starts at 23 and ends on chord V in bar 30. The answer phrase (consequent) ends in bar 38 on chord I. Codetta A little coda. The final section or part of Bars 50 - 633 a movement, like an exposition. Its F major key is confirmed purpose is to assert the key of the through 3 perfect cadences second subject through the use of pedal (actually 3 cadential 6/4s) points and perfect cadences. in bars 53-54, 57-59 and 623 – 631. The central section in sonata form in which motifs from the first and second subjects are developed and a wider range of keys are used (F minor (where there is a very good example of an Alberti bass), C minor and G minor, before arriving at… Dominant preparation A section of music, found at the Bars 87-933. end of the development, that This section features chord emphasises the dominant chord V7 of Bb. (often by the use of a dominant pedal) in preparation for the return of the tonic key at the beginning of the recapitulation. The final section in sonata form, in which the first and second subjects are heard again in the tonic key. Coda The final section of a movement Bar 152 – end. that confirms the tonic key of the The Coda confirms the piece. tonic key of Bb.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Key: Structure: Exposition

Development Recapitulation

Bars 1-63 First subject Bridge (transition) Second subject Closing section Codetta Bars 64-93 Bars 934-165 First subject Bridge (transition) Second subject Closing section Coda

1-103 104-223 224-49 50-591 591-63

Bb Modulates F F F Modulates

934-1033 1034-119 119-1521 1521-1601 1611-165

Bb (modulates) Bb Bb Bb

Exposition: First Subject (bars 1-10) 1. Describe the texture: ……………………………………………………………………………………………………………………………………….. ………………………………………………………………………………………………………………………………………………………………………….. 2. Which hand is the melody mostly in: ………………………………………………………………………………………………………………… 3. There are no dynamic markings in the first 38 bars of the piece but what sort of dynamic does the music suggest? ……………………………………………………………………………………………………………………………………………………………. 4. Many different types of melodic decoration are used. In the first 8 bars identify the following: a. Appoggiatura b. Accented passing note c. Feminine perfect cadence (resolution occurs on a weak beat) d. Passing chromaticism (music has not modulated but you can see an accidental) e. Suspension created by syncopation Now mark these on your score. 5. The bass line can be described as an ……………………………………… bass. 6. The music of bars 6-7 is a varied repeat of bars …………………….. .

Points to note



7. The expressive character of the music is created principally by the use of dissonance. The three melodic devices used to create this dissonance are:

 

a. ………………………………………………………… b. ………………………………………………………… c. ………………………………………………………… 8. The notes before bar 1 are called the ……………………………….. .

Clear harmonic progressions with regular and frequent cadences define the tonality (key) in the classical era. The phrasing is regular and can be described as periodic. The thin, two-part texture is typical of piano writing of the 1760s-1790s.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Bridge 104-22 9. This opens with a variation of which theme? ………………………………………………….. 10. Which key does the music modulate to? ………………………………………………………… 11. Which accidental occurs with increasing frequency? ………………………………………. 12. Label the cadence at bars 15-16 using roman numerals. Be sure to include any inversions. 13. What sort of cadence happens at bar 23? ………………………………………………………..

Second Subject (Bars 224-501) Listen to the second subject. 1. How does the second subject contrast with the first subject? ………………………………………………………………………………………………………………………………………………………………………….. ………………………………………………………………………………………………………………………………………………………………………….. 2. What musical device is used to extend the melody in bars 27-28? …………………………………………………………………… 3. How is more energy injected into the music from bar 35? ……………………………………………………………………………….. …………………………………………………………………………………………………………………………………………………………………………..

The second subject can be divided up into several clear sections:  

Bars 23-39 are more lyrical and consist of two balanced 8-bar phrases – antecedent and consequent. Bars 39-50 is a more energetic section.

Antecedent 23-26 31-34

Consequent 27-30 35-38

The second subject starts with an F major chord followed by a falling scale motif clearly derived from bar 1.   

Note the chromatic inflection in bar 27 and passing chromaticism in bar 34. Note the appoggiatura figure in bar 37 (derived from bar 1) and the cadential trill. At bar 25 there is an example of a secondary dominant (a chord of G leading to C in the context of F major)

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement

Closing section (Bars 50-59) The closing section marks the point when the energy and forward motion picks up again – there is a sense of drive towards the major cadence point at the end of this exposition.

1. The cadential progression Ic – V7 – I occurs at the end of the closing section. Mark this on your score. 2. Give the bar number of an example of chromatic inflection. ………………… . 3. The highest note of Mozart’s piano is played in the closing section. Circle the highest note on your score. 4. Label the cadential trill.

Codetta (Bars 59-63) The exposition could have easily ended in bar 59 following the extended cadential trill. However to balance the more lyrical opening, Mozart extends the music with two further phrases, ending the exposition quietly and with a feminine (delayed) perfect cadence. Mozart uses accented dissonances where the upper note of the RH is an appoggiatura and lower note is a suspension (bar 63).

1. Give the bar number where you see an inverted turn. ………………. . 2. What textural device is used between the hands in bar 59 and bar 61? ………………………………………………………… .

The exposition is repeated, as is the norm in 18th century sonata form, displaying the link with the precursor of the sonata form, the rounded binary form.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Consolidation Questions 1 1. What is the structure of the movement? Name the three principal sections of the movement. 2. Giving bar numbers, what are the main structural features of the exposition? 3. What is the principal way in which the recapitulation differs from the exposition? (Compare bars 23-34 and bars 119-130, giving reasons for the main difference) 4. Name the key and its relationship to Bb at the following points. Bar 10 38 64 71 80 94

Key

Relationship to Bb major

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Development (634-933) 1. Name the key at the beginning of the development ……………………………………………….. . 2. Which material does it vary? ……………………………………………………………………………………. . 3. What musical device is used in the melodic line? ………………………………………………………. . 4. What dissonant sounding chord is used at bar 67 and bar 69? ……………………………………………………. . 5. Write on your score where the cadence Ic – V - i appears (somewhere between bars 63-71). 6. Name the key at bar 71. ………………………………………….. . 7. How is more movement created from bar 71? ………………………………………………………………………………………………………… . Such dramatic twists of harmony were very rare in Baroque music but much more common in the Classical period. They are a feature associated with the Sturm und Drang movement.

Bars 71-86 8. Describe the pattern in the LH at bar 71 ………………………………………………………….. . 9. Describe the RH part at bars 73-74 (think about rhythm and melodic direction) ………………………………………………………… ……………………………………………………………………………………………………………………………………………………………………………………… . 10. What key does the music cadence in at bar 751? ……………………………………………………….. . 11. On 752 the key of the music is …………………………………………………………………………………….. . 12. Name the chord at bar 76 ……………………………………………………………………………………………. . 13. At bars 752 – 783 what harmonic device is used (it occurs in the LH)? ………………………………………………………… . 14. From bars 75-77 describe the movement of the first note of each bar of the LH part ………………………………………………. ……………………………………………………………………………………………………………………………………………………………………………………… . 15. What key has the music modulated to at bar 801? …………………………………………………….. . 16. Describe the chord at bar 804 …………………………………………………………………………………….. . 17. Name the chords at bar 82, and bar 844. ………………………………………………….. .

Bar 804 - 811 is an example of a Phrygian cadence. This is when the bass line falls a semitone. The chord progression is ivb-v.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Development (continued) The ‘dominant’ preparation (bars 87-93) The dominant preparation section prepares for the re-establishment of the home key.

18. What chord is used in preparation for the return of Bb major? ……………………………………………………… . 19. Which note increases the tension in the LH part (a chromatic inflection) ……………………………………….. .

There is also chromatic ornamentation in the RH which increases the tension.

20. Every bar between 86 and 92 commences with which chord? ……………………………………………………….. . 21. This creates what sort of harmonic device? …………………………………………………………………………………… .

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Consolidation Questions 2

1. Describe the various ways that Mozart makes the opening melody so expressive. 2. Referring to the music, explain the following terms:    

Appoggiatura Inverted turn Cadential trill Suspension

3. What is ‘periodic’ structure? (Refer to the music) 4. Identify three sequences in the music. 5. Where does Mozart use an ‘Alberti’ bass in the exposition? 6. What do you understand by the term ‘dominant preparation’? 7. Identify the harmonic progression in bars 159-1611. 8. Explain what a chord of the augmented 6th is. (Refer to the music) 9. Mozart modifies the sense of momentum by changing the harmonic pulse. What is harmonic pulse? 10. Discuss Mozart’s use of dynamics in this movement.

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement Recapitulation Bars 934-1033 – First Subject – Bb major 1. These bars are a repeat of bars ……………………… without change.

Bars 1034-118 – Bridge Passage / transition The bridge passage commences with a similar take on the opening motif, but the music quickly changes as the music of bars 104-105 is extended until bar 110.

Bars 119-1521 – Second Subject – Bb major Except for the key, this is the same as the second subject in the exposition. 2. There is variation of the tessitura (pitch level) for the second 8-bar phrase. This is transposed ………………………………………………… . 3. Look at the music of bars 137-138 and compare it with the same passage in the exposition (bars 41-42). What is different apart from the key? ……………………………………………………………………………………………………………………. . 4. What musical device is used from bars 144-146? ……………………………………………………………….. .

The material in bars 147-148 is new. 5. What happens at bars 151-152? ……………………………………………………………………………………………………………………. .

Bars 152-1611 – Closing Section Apart from the key and some 8ve transpositions, this is identical to the closing section at the end of the exposition.

Bars 161-end – Coda Apart from the key this is identical to the codetta at the end of the exposition

AS Music 2014/15 Mozart: Piano Sonata in Bb, Kv. 333, first movement The chief characteristics of music composed circa 1778-1790

                

The importance of elegance and refinement Triadic themes Passing chromaticism (often as chromatic scales and in chromatic appogiaturas) Many contrasting themes Balanced phrases – periodic structure/phrasing – antecedent–consequent phrasing I-V, V-I opening phrases Clear harmonic progressions Many cadences (that define keys) Cadences often on weak beat (‘feminine’ or ‘sighing’ cadence) Cadential trills, particularly at the end of a cadenza Relatively slow harmonic rhythm Melody dominated homophony – homophonic texture is most prevalent (in piano music the ‘crystal-clear’ textures are created by a 2-part texture with just one note played at a time in each hand) Broken-chord accompaniments – the Alberti bass in keyboard music (and repeated-note accompaniments in strings called Trommelbass) Tension varying in the course of a movement Ornamentation, mainly trill, turn and leaning notes (appoggiatura- both diatonic and chromatic) Sonata form – the 4 movement sonata plan The piano as a solo and accompanying instrument