I. Vivace (0:00) II. Arioso (6:30) III. Rondo. Allegro (9:07) Conductor: Dmitry Sitkovetsky New European Strings Chamber Orchestra ... https://www.youtube.com/watch?v=sCspZxJCbvA

I. Allegro moderato (0:00) II. Andante cantabile (3:21) III. Allegretto (7:54) Piano: Glenn Gould Mvt 1: Allegro moderato EXPOSITION (0:00) Primary Theme (P1). (0:05) Counter-Theme 1 (P2). (0:14) Transition Section. (0:22) Secondary Theme (S1). (0:30) Counter-Theme 2 (S2). (0:43) Counter-Theme 3 (S3). (0:53) Pre-Cadential Theme. The cadence keeps getting delayed further and further, and never really comes (we'll see why afterwards). DEVELOPMENT (1:14) Episode 1: new material (D1) in the dominant, a descending sequence that slides into the minor. Then, a brief transitional passage conducts us to (1:27) Episode 2: syncopated melody, modulating through various keys (Am, F, A, Cm, Fm). (1:40) Episode 3: pedal point in the dominant, syncopated figures resembling P2 and the Pre-Cadential Theme. RECAPITULATION (1:50) P1 + P2 + Transition (2:14) S1, comically modulating halfway through — as if Mozart had forgotten for a moment that we're already in the Recap and S2 needs to be in the tonic. (2:22) S2 + S3 + Pre-Cadential material (3:06) Finally, the missing Cadence appears, and (surprise!) it's actually the first Developmental Theme (D1). Mvt 2: Andante Cantabile *And once again we come across Mozart's experimentations with slow movements. This time, I'll dare say it's a modified Minuet & Trio, for the following reasons: 1) we observe a very distinct ABA' Ternary structure that does not repeat the A' section; 2) each section consists of two independently repeated strains; 3) each strain is harmonically progressive (stars in a key, ends in another), but together each pair forms an embedded Ternary Form unit that fits the Minuet & Trio scheme. According to this analysis, the whole structure would be: (Minuet) ||:A:||:BA':|| (Trio) ||:C:||:D:||C' (Da Capo) ABA' (Coda) C''. MINUET (3:21) Strain 1: The anacrusis (three repeated notes) is a important Motive (M1). There are two four-bar phrases, the first in F major and the second in C major, developing M1. (4:01) Strain 2: Begins in G minor and modulating to C. At 4:11, we prepare ourselves to hear A again, but it's just a new development of M1 that continues modulating (C7, F7, B♭, F, C7) and returns to F major. TRIO (5:03) Strain 3: a new four-bar Theme based on M1 appears, singing above menacing and throbbing repeated notes. At 5:13, a disguised M1 returns, leading to A♭ major. (5:44) Strain 4: one of the most beautiful passages of the Sonata, very sincere and melancholic. Once again, the anacrusis becomes a Motive (M2) and is developed imitatively, returning to F minor. At 6:27, strain 3 comes back, slightly modified. DA CAPO (6:39) The first part is restated, senza ripetizione. (7:34) As if using the synthetic function of the Sonata Form, a reconciling major version of Strain 3 appears, to close the movement. It's worth mentioning that this Coda is a somewhat controvertial addition (but it fits well, I guess). Mvt 3: Allegretto EXPOSITION (7:54) Primary Theme (P1), second time with surprisingly heavy (yet playful) accompaniment. (8:19) Transitional Theme 1 (Tr1), kind of antecipating S1. (8:28) Transitional Theme 2 (Tr2), kind of antecipating S2. (8:32) Secondary Theme (S1) in the dominant. (8:49) Counter-Theme 1 (S2), playing with fast triplets. (9:05) Codetta. DEVELOPMENT (9:15) Episode 1: new material in G major (D1). (9:26) Same procedure as the Primary Section: the exact same melody is restated above a "heavier" accompaniment that resembles S1. (9:37) Tonic preparation: pedal point on G. RECAPITULATION (9:49) P1 + Tr1. (10:22) Modified Tr2 (C7, F, A7, D, G7, C). (10:30) S1 + S2 in the tonic. (11:04) Coda. After a funny, deceptive shift to A minor, three good fat PAC chords end the piece. ... https://www.youtube.com/watch?v=IRci67xY8sA