Opening with an arched, cantabile theme, the Adagio maintains a distinct division between the melody in the right hand and accompaniment in the left. 282, is remarkable in that it begins with a slow movement. The fourth of the Munich sonatas, in E flat major, K. Only the D major sonata was published during Mozart's lifetime. Mozart chose various contrasting keys for his middle movements and a wide range of expression throughout the set. The grace and charm we find in some of the first movements, especially that of the C major sonata, are reminiscent of J. He may have used one of his new sonatas in a keyboard contest between himself and Ignaz van Beecke (1733-1803), a contest in which Beecke was judged superior.Įach sonata is in three movements, and each differs from the others in several ways. Mozart worked his way around the circle of fifths, first toward the flat side, composing the sonatas in the key order C, F, B flat, E flat, and then moving to the sharp side and writing pieces in G and D. 279-84 were apparently written as a set for which Mozart deliberately chose "easy" keys, although he referred to the works as his "difficult" sonatas. This may be because his Salzburg patrons were not interested in solo keyboard compositions. He had written sets of variations, but nothing in the sonata style. It is remarkable that Mozart, who had made his reputation as a keyboard virtuoso, waited years to compose sonatas. The opera received its first performance on January 13, 1775, two weeks before Mozart's nineteenth birthday. Mozart and his father had traveled to Munich in early December 1774 to oversee the premiere of Mozart's new opera buffa, La finta giardiniera (The Imaginary Gardener), commissioned by the Munich court. While Mozart was in Munich, in early 1775, he composed five piano sonatas, K.
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