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

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

I. Allegro (0:00) II. Andante (7:34) III. Rondo. Allegretto (17:06) Piano: Mitsuko Uchida Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1) in F major. At 0:11, the LH takes hold of the melody, anticipating how Mozart experiments with invertible counterpoint in this sonata. (0:21) Counter-Theme 1 (P2), descending by thirds. At 0:30, it happens again: the theme is stated by the LH. (0:37) 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. (0:55) Secondary Theme (S1) in C major: a single note that overflows and cascades down in rapid triplets. Mozart then states this theme in stretto. (1:15) Counter-Theme 2 (S2), using S1's triplets and playing with hand swapping once more. (1:27) Counter-Theme 3 (S3), an ascending melody. (1:49) Cadential Theme, exploring the triplets even further. DEVELOPMENT (4:30) Episode 1: a combination of P1 and the cadential triplets in C minor. At 4:39, the hands swap (a common procedure in this sonata), but this time in G minor. (4:47) Episode 2: arcs of triplets recalling S2 reside on the dominant of D minor, soon running down and giving space to the cadential theme. (4:57) Episode 3: a modulating sequence using S1, until the dominant is reached (Dm, Gm, C, F, B♭, C7). At 5:20, the cadential theme is again stated, in the correct tonality. RECAPITULATION (5:26) P1. (5:37) Skipping to the modified Transition Section, this time P1's tail (and not its head) is explored further. (5:57) S1 + S2 + S3 in the tonic (F major). At 6:41, P1 unexpectedly reappears, dialoguing with the similar S3. (7:03) Cadential Theme. Mvt 2: Andante [Sonata-Form] EXPOSITION (7:37) Primary Theme (P1) in B♭ major. The first four notes consist of the main Motive (M1). (8:44) 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). (9:15) Secondary Theme (S1) in F major, placid triplets over a dominant pedal point. DEVELOPMENT (12:43) Episode 1: synthesis between M1 and S1, in D minor. After the themes swap hands, S1 takes over. (13:18) Episode 2: development of those ascending sixths and thirds in P1, ending in a F7 arpeggio. RECAPITULATION (13:59) P1. (14:31) Suddenly, we hear a shadow of Episode 1: S1 in RH and P1 in LH. (14:59) Modified Transition Section, beginning with inverted hands. (15:30) S1 in the tonic (B♭ major). (16:20) The expected final cadence is replaced by an extended development of S1 and a proper Coda (16:46). Mvt 3: Allegretto [Sonata-Rondo Form] SECTION A (17:08) Theme A in F major. SECTION B (17:28) Theme B in the dominant (C major), almost a variation of Theme A. (18:03) Transition. SECTION A (18:11) Theme A. SECTION C (18:32) Theme C in the relative (D minor).The contrasting mid-phrase at 18:38 is also an obvious resemblance of Theme A. (18:58) Transition. SECTION A (19:25) Theme A, highly ornamented. SECTION D (19:45) Theme D in the parallel (F minor), another variation of Theme A. Usually, the Section C is in Small Ternary form, but this movement was extended. (20:56) Transition. SECTION A (21:02) Theme A, even more ornamented. SECTION B (21:22) Theme B in the tonic (F major). (21:54) 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 (22:28) 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).