I. (0:00) II. (2:45) Harpsichord: Scott Ross ... https://www.youtube.com/watch?v=5m_drtjMTk8

I. (0:00) II. (1:14) Harpsichord: Scott Ross ... https://www.youtube.com/watch?v=SMtiXVRwAQQ

I. (0:00) II. (1:42) Harpsichord: Scott Ross ... https://www.youtube.com/watch?v=0ZpgxryY64U

I. Tema con variazioni. Andante grazioso (0:00) Var. 1 (1:50) Var. 2 (3:25) Var. 3 (4:57) Var. 4 (6:37) Var. 5 (8:23) Var. 6 (12:29) II. Menuetto (13:50) III. Rondo Alla Turca. Allegretto (20:29) Piano: Mitsuko Uchida Mvt 1: Andante grazioso [Theme and Variations] *Mozart defies tradition by constructing a sonata without a movement in Sonata-Form, almost entirely built up from small Rounded-Binary cells (AABA'BA') — if you think about it, the Theme, its Variations, the Menuetto, the Trio and the main themes of the rondo are all in small binaries. The form of this piece actually reminds me of Beethoven's Sonata No. 12 Op. 26, also because of the lack of tonal development (all movement have the same tonal center). (0:00) Very simple theme in A major, based on iambic rhythmic cells (which fits naturally in 6/8 time). (1:50) Var. 1: Maintaining the harmonic structure, the melodic line becomes more chromatic and funky. (3:25) Var. 2: The melody is transformed into trills and triplets. (4:57) Var. 3: A gloomier stream of notes in A minor, in the middle of the movement. (6:37) Var. 4: Broken chords with a lot of hand-crossing; placid and smooth. (8:23) Var. 5: Adagio in an impromptu style, privileging scales, ornaments and lyric gestures. (12:29) Var. 6: Joyful and faster, contrasting eighth and sixteenth notes. (13:32) Coda, derived from Var. 6. Mvt 2: Menuetto [Compounded Ternary form] (13:50) The main Theme reminds a lot the Primary Theme of Sonata No. 7 in C major, just a bit rhythmically different. (16:23) The Trio Section, in the dominant key, reminds of Var. 4 from mvt 1: broken chords with hand-crossing. (19:07) Return of the Menuetto, senza repetizione. Mvt 3: Allegretto [Rondo form] (20:29) Theme A in A minor. The round sixteenth-note pattern is Motive 1 (M1). (21:12) Theme B in A major, a loud march that resembles a lot Turkish military music: notice the heavy arpeggiated bass imitating Turkish bass drums. (21:28) Theme C in F# minor, developing the inversion of M1. (22:11) Return of the march (B). (22:26) Return of Theme A. (23:10) Last ocurrence of the march, with a slight modification. (23:25) Coda. Actually, a synthesis between Themes A and B: arpeggios in the bass, extended development of M1, repeated ornaments and march-like rhythms. This video is dedicated to Karthik. ... https://www.youtube.com/watch?v=6GezrRPNRrw