Mozart: Piano Sonata No. 2 in F major, K.280 [Uchida]

I. Allegro assai (0:00)
II. Adagio (4:13)
III. Presto (11:19)
Piano: Mitsuko Uchida
Mvt 1: Allegro assai [Sonata-Form]
EXPOSITION
(0:00​) Primary Theme (P1), in four parts: major thirds + descending scale + chromatic line + hesitant short figure. That naïve-looking chromatic figure conducting to the subdominant is actually a Motive (M1) and will re-surface in other transitional passages.
(0:07​) Counter-Theme 1 (P2), scales + syncopations, stated twice.
(0:15​) Transitional Section: triplet arpeggios sliding down chromatically (M1) until a double Plagal Cadence brings the
(0:31) Secondary Theme (S1) in C, a sort of call-and-response juxtaposition of Motives: after the "brasses" play a heavy and low triad (M2), the "woodwinds" respond in rapid sixteenth notes up high (M3).
(0:41​) Counter-Theme 2 (S2). This Theme seems to mirror the Transition Section: now the bass+triplets in chromatic motion (M1) go up, but in a hesitant, quirky way, ending with a PAC.
(0:50​) Counter-Theme 3 (S3), expanding and developing the five descending sixteenth-note figure that closed S2. It repeats once, an octave lower, and also closes with a PAC.
(1:04​) Codetta using a lower leading-tone tremolo figure.
DEVELOPMENT
(2:17​) Episode 1: the initial major third seems to want to announce P1 in the dominant, but gets interrupted by the transitional triplets wanting to do the same. They compete for space and end up distracting themselves and getting lost.
(2:31​) Episode 2: suddenly, the call-and-response structure of S1 arrives, and explores some harmonies in search for home (Dm, Gm, C, F), but it gets stuck in a chromatic descending line (M1).
(2:45) transitional triplets come back, but also get stuck. Finally, that short figure from the beginning is the one to guide us back home. Notice that (M1) appears again in the bass.
RECAPITULATION
(2:52​) P1 + P2.
(3:07​) Modified Transition.
(3:24) S1 in the tonic.
(3:34​) Late development of S1: M2 and M3 finally occur together, in some kind of invertible imitation.
(3:41​) S2.
(3:51​) S3.
(4:05​) Coda.
Mvt 2: Adagio [Sonata-Form]
EXPOSITION
(4:14​) Primary Theme (P1) in F minor. A bitter-sweet dialogue between three voices around the same motivic dotted figure (M1). The same moanful idea is repeated by the Soprano, Alto and Tenor voices. This Motive is briefly developed and closes itself in silence.
(4:57​) Without a proper Bridge, the Secondary Theme (S1) in the relative major dares to tenderly break the silence. A legato accompaniment delineates a continuous flow to the sparse consolatory notes.
(5:50​) The Codetta miraculously brings the Themes together, using M1 as an expression of resignation and acceptance rather than the precedent moarnful sorrow.
DEVELOPMENT
(8:12) A bare statement of M1 leads to some indecisive diminished and major seventh chords. The voices of P1 come back in B♭ minor, but playing with new, more fluent material. However, that last G (V/V) that the Tenor left behind causes a
(8:52) False Recapitulation of P1. Everything is exactly in place, except for the dominant key of Cm. After the Bass states M1 for the first time, the Soprano and Alto effortlessly slip into the
RECAPITULATION
(9:13​) P1+P2
(9:48​) S1 in F minor.
(10:​53) Coda.
Mvt 3: Presto [Sonata-Form]
EXPOSITION
(11:19​) Primary Theme (P1) in a Period Structure (four four-bar phrases: Antecedent+Consequent1+HC/Antecedent+Consequent2+PAC).
(11:29​) Counter-Theme 1 (P2).
(11:34​) Transitional Section, arpeggios descending diatonically and fragments of P2 ending up with a G (V/V).
(11:42) Secondary Theme (S1). After a Motive in F is stated twice, a variation in C comes immediately. The Motive comes back, this time doubled by the LH, and once again a variation in C follows, fast and chromatic.
(11:55​) Counter-Theme 2 (S2), repeated an octave below.
(11:59​) Codetta.
DEVELOPMENT
(12:53​) Episode 1: S1 in Cm, interrupted by a new Theme (D1).
(12:58​) Episode 2: S1 insists, but D1 takes over and starts an invertible imitation episode.
(13:05​) To conclude the Development, a hybrid between the cadential and transitional themes emerges, also inverting upon itself.
RECAPITULATION
(13:11​) P1 + P2.
(13:25​) Transition.
(13:36​) S1 in B♭ with answer in F.
(​13:48) S2.
(13:53​) Coda.

[@nestorv7627]

4:57 the best part

[@miguelfontesmeira]

It's gorgeous, isn't it?

[@leithbouacida2483]

Not Mozart's most beautiful sonata: lacks the emotional and strong sequences of others. However the rythmical aspects and syncopations are amazing! This sonata really brings the childhood-esque theme of Mozart: the unpredictable, fast rash melodies followed by a leading bass, really captures the essence of the piece. The 2nd movement is wonderful, it reminds me of a minor and slow opening to the famous a major sonata. Overall, the change in themes and tempos, as well as the pure techincal strength of this sonata makes it enjoyable. On the other hand, one can get easily confused due to the huge constracts in harmonic sequences. Overall, a good piece. But no where near the three best sonatas ( in my opinion), Sonata in b flat, a major and yes , of course, the grand a minor sonata.

[@redwithblackstripes]

Regardless of what you think how this particular piece compare among other Mozart's works i think it's pretty clear this interpretation is not making it any justice at all... especially in terms of emotional content, there is a lot more in this sonata that this particular performance fail to bring out in my opinion.

[@victoriakim1360]

4:57 a dew in the misty forest

[@ms-dosguy6630]

Wish I could play it this fast with that much accuracy.

[@simoneliloni6117]

Very Haydn-esque.

[@sl_.xooyul]

11:20

[@singtatsucgc3247]

All the movements are in binary form. However, none of the B sections is repeated in this performance, despite the repeat signs. Someone like Richter would disagree with such a performance.

[@orlandodilasso2319]

Un massacre

[@williamnelson792]

Quoi

[@WinrichNaujoks]

What dross