I. Allegro (0:00) II. Andante cantabile (3:45) III. Allegretto grazioso (7:26) Piano: Glenn Gould Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1), a nice and serene melody. The descending four sixteenth-notes are the fist Motif (M1) and the three crochets are M2 (C-B♭-B♭). At 0:07, we hear the two motifs being briefly developed. (0:13) Transition Section, starting with a low-registered P1. At 0:26, M1 is further developed, reinforcing the secondary dominant (C7). (0:28) Secondary Theme (S1) in F major, assertive and confident. (0:48) Counter-Theme 1 (S2). (1:04) Counter-Theme 2 (S3). (1:16) Cadential Theme. DEVELOPMENT (1:22) Episode 1: P1 appears in the dominant, but keeps being interrupted by a new Motif that eventually takes over. (1:32) Episode 2: sudden shift to F minor, bringing back the scales from S3 and modulating extensively. (1:52) Episode 3: preparation for Recap through the development of M1 (recalling the Transition). RECAPITULATION (2:02) P1. (2:15) Modified Transition, once again beginning with P1 and focusing on the development of M2. (2:35) S1+S2+S3 in the tonic. (3:33) Coda. Mvt 2: Andante cantabile [Sonata-Form] EXPOSITION (3:45) Primary Theme (P1) in E♭ major. (4:04) Transition Section. The three repeated notes are M1. (4:18) Secondary Theme (S1) in B♭ major. M1 reappears. (4:36) Counter-Theme 1 (S2), developing M1 even further. (4:56) Cadential Theme. DEVELOPMENT (5:04) Episode 1: Very unexpected and strange diminished harmonies take over P1, followed by the development of M1. (5:35) Episode 2: reoccurrence of the Transition Section, modulating across many keys in search of the dominant (A♭, C7, Fm, A♭7, D♭m, A♭m, B♭7) (5:50) Episode 3: M1 is developed even further, in preparation for Recap. RECAPITULATION (5:57) P1, heavily ornamented. (6:14) Modified Transition Section. (6:29) S1+S2 in the tonic. (7:08) Coda. Mvt 3: Allegretto grazioso [Sonata-Rondo form] SECTION A (7:26) Theme A (A1), very tender and sweet. (7:45) First Transition. SECTION B (7:55) Theme B (B1) in the dominant, F major. (8:00) Counter-Theme 1 (B2). (8:09) Second Transition, consisting of two themes: a syncopated note (Tr1) and an arppegiated chord (Tr2). SECTION A (8:15) Return of A1. At 8:42, Tr2 deflects the harmony to D7, dominant of Gm. SECTION C (8:46) Theme C (C1) in the relative, G minor. Preserving the tenderness of A1, this theme brings a bittersweet flavour. (9:01) Counter-Theme 2 (C2) in the subdominant, E♭ major. Its dotted rhythm produces an agitated, edgy feeling. (9:12) At this point, we comically start searching for a way back to A1, but keep getting lost. The only part of Theme A that can be remembered is that ascending-note pattern, which turns into a new motif (M1). (9:21) A1 comes back, but we're still in the wrong key (Cm, relative of the subdominant). The ascending motif then helps us find the tonality we want (B♭), but in the wrong mode. At last, M1 asks Tr1 for help, and we finally encounter A1 again. SECTION A (9:49) A1. (10:09) The Transition is modified and extended a lot, in order to keep us in the tonic. SECTION B (10:36) B1+B2 in the tonic. This is a movement in Sonata-Rondo form, after all. (10:56) Tr1 resurfaces, but all of a sudden comes to a halt. (11:10) As if we were listening to a Concerto, a written Cadenza stars to play, developing A1 together with Tr1 and Tr2. SECTION A (12:40) Finally, the last statement of A1 comes along. (12:58) The Coda of the movement is based on this beautiful variation of Theme A. It's very exciting how Mozart keeps developing his themes up until the very last moment. ... https://www.youtube.com/watch?v=RRCTtxM4yM0

I. (0:00) II. (4:11) Harpsichord: Scott Ross ... https://www.youtube.com/watch?v=TWa4kxAqID8