I. Allegro (0:00) II. Adagio (5:06) III. Allegretto (10:24) Piano: Mitsuko Uchida Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme in D major (P1). The theme is repeated, foreshadowing all the future imitations and stretti of the movement. (0:21) Counter-Theme 1 (P2). Ending in the dominant, this section could easily be a Transition to the Secondary Theme, but it actually sets off an early development of P1. (0:37) Transition Section, a canon in two voices separated by one beat, developing P1 in the dominant. (0:55) Secondary Theme (S1) in A major. (1:14) Conclusive Section, recalling P1. DEVELOPMENT (2:41) The last bar of Exposition is repeated, modulating to B♭ major through F7. (2:47) Episode 1: two canons are made out of P1; the two voices are primarily one bar apart in B♭ major, then half a bar apart in G minor. (3:10) Episode 2: recalling P1, a sequence of triads is deployed in order to modulate to the tonic. RECAPITULATION (3:33) P1. (3:45) New Transition Section, developing P1 and treating some melodic fragments imitatively. (4:04) S1 in the tonic. (4:29) Old Transition Section (now S2). (4:53) Conclusive Section. Mvt 2: Adagio [Ternary Form] SECTION A (5:06) Theme A in A major. (5:43) Contrasting theme in E major. (6:02) Theme A is restated, but Mozart plays with the melody and twists the harmony, hitting "wrong notes" all the time. SECTION B (6:22) Theme B in the relative (F# minor), a pulsating set of sighful leaps. (6:55) Contrasting section, a modulating sequence of scales (D, B, Em, C#, C#7). (7:26) Theme B. (7:59) A brief allusion to the previous scales. SECTION A (8:22) Theme A. (9:34) As a Coda, Theme B is transformed into a hopeful A major tune. Mvt 3: Allegretto [Rondo Form] SECTION A (10:24) Theme A. The LH is invaded by cascading triplets when the theme is restated, and the triplets take over. (10:58) Counter-Theme. That same procedure from mvt 1 is deployed here: after an apparent Transition that ends in the dominant, we hear an early development of Theme A, with imitations, stretti and inversions. (11:18) Transition. The triplets come back. SECTION B (11:12) Theme B in the dominant (A major). (11:40) Transition based on Theme B. SECTION A (11:48) Theme A (12:08) The Counter-Theme is extended and modified, modulating to F major. SECTION C (12:28) Theme C is replaced by a section that develops both Theme A and B, resembling Sonata-Form. SECTION B (13:22) Theme B in the tonic. (13:40) Extended Transition. SECTION A (13:58) Theme A. (14:19) Coda based on Theme B. ... https://www.youtube.com/watch?v=uhvzbtgSmaA

Choir: Cappella Amsterdam Conductor: Daniel Reuss ... https://www.youtube.com/watch?v=wixj_V89B5M

I. (0:00) II. (1:45) Harpsichord: Scott Ross *re-upload due to quality issues ... https://www.youtube.com/watch?v=lQqmfIWRz38

I. (0:00) II. (3:28) Harpsichord: Scott Ross *re-upload due to quality issues ... https://www.youtube.com/watch?v=5iCtDbVVkSM