Mozart: Piano Sonata No. 15 in F major, K.533/494 [Gould] скачать в хорошем качестве

Mozart: Piano Sonata No. 15 in F major, K.533/494 [Gould]

I. Allegro (0:00) II. Andante (4:20) III. Rondo. Allegretto (9:43) Piano: Glenn Gould Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1) in F major. At 0:08, the LH takes hold of the melody, anticipating how Mozart experiments with invertible counterpoint in this sonata. (0:15) Counter-Theme 1 (P2), descending by thirds. At 0:23, it happens again: the theme is stated by the LH. (0:27) Transition Section. Actually, an early development section in three episodes: a dialogue on the tail of P2, then the P1 melody in stretto and lastly the head of P1 being repeated until the secondary dominant chord (G major) is reached. (0:42) Secondary Theme (S1) in C major: a single note that overflows and cascades down in rapid triplets. Mozart then states this theme in stretto. (0:59) Counter-Theme 2 (S2), using S1's triplets and playing with hand swapping once more. (1:08) Counter-Theme 3 (S3), an ascending melody. (1:25) Cadential Theme, exploring the triplets even further. DEVELOPMENT (1:47) Episode 1: a combination of P1 and the cadential triplets in C minor. At 1:53, the hands swap (a common procedure in this sonata), but this time in G minor. (2:00) Episode 2: arcs of triplets recalling S2 reside on the dominant of D minor, soon running down and giving space to the cadential theme. (2:10) Episode 3: a modulating sequence using S1, until the dominant is reached (Dm, Gm, C, F, B♭, C7). At 2:28, the cadential theme is again stated, in the correct tonality. RECAPITULATION (2:32) P1. (2:41) Skipping to the modified Transition Section, this time P1's tail (and not its head) is explored. (2:58) S1 + S2 + S3 in the tonic (F major). At 3:34, P1 unexpectedly reappears, dialoguing with the similar S3. (3:53) Cadential Theme. Mvt 2: Andante [Sonata-Form] EXPOSITION (4:20) Primary Theme (P1) in B♭ major. The first four notes consist of the main Motive (M1). (5:09) After a brief pause, the Transition Section begins. Just like mvt 1, this Transition appears to be an early development of P1 — an ascending sequence of bare statements of M1 (F, Gm, F#dim7, E♭m, Bdim7, F). (5:32) Secondary Theme (S1) in F major, placid triplets over a dominant pedal point. DEVELOPMENT (6:05) Episode 1: synthesis between M1 and S1, in D minor. After the themes swap hands, S1 takes over. (6:37) Episode 2: development of those ascending sixths and thirds in P1, ending in a F7 arpeggio. RECAPITULATION (7:12) P1. (7:41) Suddenly, we hear a shadow of Episode 1: S1 in RH and P1 in LH. (8:04) Modified Transition Section, beginning with inverted hands. (8:31) S1 in the tonic (B♭ major). (9:07) The expected final cadence is replaced by an extended development of S1 and a proper Coda (9:26). Mvt 3: Allegretto [Sonata-Rondo Form] SECTION A (9:43) Theme A in F major. SECTION B (9:59) Theme B in the dominant (C major), almost a variation of Theme A. (10:26) Transition. SECTION A (10:32) Theme A. SECTION C (10:47) Theme C in the relative (D minor).The contrasting mid-phrase at 10:52 is also an obvious resemblance of Theme A. (11:07) Transition. SECTION A (11:29) Theme A, highly ornamented. SECTION D (11:45) Theme D in the parallel (F minor), another variation of Theme A. Usually, Section C is the one in Small Ternary form, but this movement was extended. (12:42) Transition. SECTION A (12:47) Theme A, even more ornamented. SECTION B (13:03) Theme B in the tonic (F major). (13:29) Before the final statement of Theme A, we hear the climax of the movement: an incredible written Cadenza with multiple entrances of Theme A's head in counterpoint. SECTION A (13:59) The last two variations of Theme A — the first is almost unrecognizable by the ornamentation and the other is kinda sloppy and funny (it reminds me so much of the way Mozart ends his 7th Sonata, K.309).