I. Allegro maestoso (0:00) II. Andante cantabile con espressione (3:17) III. Presto (9:36) Piano: Glenn Gould Mvt 1: Allegro maestoso EXPOSITION (0:00) Primary Theme (P1). The march-like dotted rhythm is M1. After a brief calmer pause, P1 comes back. (0:16) Transition Section: P1 is diverted to Cmaj7, looking forward to the secondary dominant through Dm. At 0:21, M1 is used twice, alternating G and Cm. (0:21) Secondary Theme (S1): the minor tonic modulates to its major relative, C major. Rapid sixteenth notes cascade down, embellishing repeated chords in LH. (0:37) Counter-Theme 1 (S2): the LH becomes contrapuntal for a brief moment. (0:47) Counter-Theme 2 (S3): now the LH plays a staccato figure that appears to recall P1 (compare it to measures 2-3). Both hands swap roles. (1:01) Codetta, using M1 extensively. DEVELOPMENT (1:08) Episode 1: P1 in C major. It is deviated to a dim7 version of the Transition. A series of descending Cmaj7 arpeggios lead to (1:20) Episode 2: imitative development of M1 in RH, ascending by fourths. The minor 2nd clashes in LH and RH add an incredible amount of drama and tragedy to this passage. (1:37) Episode 3: the rapid notes of the Secondary Section reappear in LH, while the RH recalls the tremolos from S3. (1:43) More dramatic than ever, the tremolos swap to LH, alternating tonic and dominant in preparation to Recap. A poignant chromatic scale finally leads us to RECAPITULATION (1:52) P1. At 2:03, the combination tremolo+bass is again used to a dramatic effect. (2:09) P1 in extended in the bass, guiding us to a Transition in the dominant. (2:26) S1 in A minor. What was a vivid and sparkling theme now seems timid. Notice how the previous repeated chords, so confident of themselves, are now alternating thirds. (2:34) S2. (2:44) S3. (2:59) When we expect the Coda, Mozart inserts a short Cadenza-like passage breaking dim7 chords. (3:03) Finally, the Coda based on M1. Mvt 2: Andante cantabile con espressione EXPOSITION (3:17) Primary Theme (P1), stated twice with some variation. (3:45) Transition Section. The initial melodic line seems to be inspired by P1 (the up-and-down motion). Then, it starts modulating to the dominant, C major. (4:10) Secondary Theme (S1). The second statement has that tremolo-bass configuration. (4:27) Counter-Theme 1 (S2), expanding and inverting some figures from S1. (4:40) Counter-Theme 2 (S3). (4:57) Counter-Theme 3 (S4), expanding (a lot!) that demisemiquaver scale from the beginning in both hands. (5:08) Codetta. DEVELOPMENT (5:20) Episode 1: P1 in the dominant, accompanied by heavy chords. (5:43) Episode 2: Unexpectedly, new thematic material emerges. The first developmental theme (D1) consists of a melodic line repeated three times and supported by a ascending triplet pattern (Cm, Gm, B♭) (6:08) Episode 3: The triplet rhythm is transfered to RH, but now in repeated notes (an allusion to S1?), while the LH holds the melodies/tremolos (D2). This is probably the emotional epitome of the movement. (6:40) The repeated notes are now in LH, preparing for the tonic. The RH seems to somewhat recall D1. RECAPITULATION (6:52) P1. (7:27) Modified Transition Section. This time, we wander across various tonalities, just to modulate back to the tonic (F, F7, B♭, D7, Gm, C, F). (7:57) S1+S2+S3+S4 in the tonic. (9:13) Coda. Mvt 3: Presto SECTION A (9:37) Theme A (A1). The dotted rhythm will be developed and expanded through the rest of the movement. (9:46) Counter-Theme 1 (A2) (9:50) Transition Section, clumsily passing through Cm and G (V/V). It sort of imitates the melodic contour of A1. SECTION B (9:54) Theme B (B1), a descending dotted rhythm (fragmentation of A1?) in the relative major. (10:02) Counter-Theme 2 (B2) A cadence to C is interrupted by this poignant passage accentuating dim7 tonalities. (10:06) B1 comes back, but is interrupted by A1's bare melody in the bass, in Em (already preparing for the tonic). (10:11) B1 fights back and resurfaces, also in the bass and in Em. The second time, its cadence to E is interrupted again by (10:19) A combination of B2 and A2. (10:23) Transition. SECTION A (10:29) A1+A2 (10:39) Transition. As you can see, it's actually B1 in the tonic. SECTION C (10:47) Theme C in the parallel major. As usual, it's in Ternary Form. SECTION A (11:20) A1. (11:29) A2 is modified, getting stuck in Dm. (11:34) A1 reappears in the bass, and again in RH. SECTION B (11:38) B1 in the tonic (Sonata-Rondo form!). The second time in the bass, then the cadence to Am gets interrupted by (11:44) B2. (11:47) B1 manages to appear two more times. (11:54) Instead of a last statement of Theme A, we fall straight into this marvelous and impatient imitative Coda. ... https://www.youtube.com/watch?v=uy0RN0s6aRA

I. (0:00) II. (2:56) Harpsichord: Scott Ross *re-upload due to quality issues ... https://www.youtube.com/watch?v=fchUW16Jet8