I. Moderato (0:00) II. Menuet (2:27) III. Finale (5:33) Piano: Walter Olbertz ... https://www.youtube.com/watch?v=bf_mDmYnvA4

I. Allegro (0:00) II. Andante (4:20) III. Rondo. Allegretto (9:43) Piano: Glenn Gould Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1) in F major. At 0:08, the LH takes hold of the melody, anticipating how Mozart experiments with invertible counterpoint in this sonata. (0:15) Counter-Theme 1 (P2), descending by thirds. At 0:23, it happens again: the theme is stated by the LH. (0:27) Transition Section. Actually, an early development section in three episodes: a dialogue on the tail of P2, then the P1 melody in stretto and lastly the head of P1 being repeated until the secondary dominant chord (G major) is reached. (0:42) Secondary Theme (S1) in C major: a single note that overflows and cascades down in rapid triplets. Mozart then states this theme in stretto. (0:59) Counter-Theme 2 (S2), using S1's triplets and playing with hand swapping once more. (1:08) Counter-Theme 3 (S3), an ascending melody. (1:25) Cadential Theme, exploring the triplets even further. DEVELOPMENT (1:47) Episode 1: a combination of P1 and the cadential triplets in C minor. At 1:53, the hands swap (a common procedure in this sonata), but this time in G minor. (2:00) Episode 2: arcs of triplets recalling S2 reside on the dominant of D minor, soon running down and giving space to the cadential theme. (2:10) Episode 3: a modulating sequence using S1, until the dominant is reached (Dm, Gm, C, F, B♭, C7). At 2:28, the cadential theme is again stated, in the correct tonality. RECAPITULATION (2:32) P1. (2:41) Skipping to the modified Transition Section, this time P1's tail (and not its head) is explored. (2:58) S1 + S2 + S3 in the tonic (F major). At 3:34, P1 unexpectedly reappears, dialoguing with the similar S3. (3:53) Cadential Theme. Mvt 2: Andante [Sonata-Form] EXPOSITION (4:20) Primary Theme (P1) in B♭ major. The first four notes consist of the main Motive (M1). (5:09) After a brief pause, the Transition Section begins. Just like mvt 1, this Transition appears to be an early development of P1 — an ascending sequence of bare statements of M1 (F, Gm, F#dim7, E♭m, Bdim7, F). (5:32) Secondary Theme (S1) in F major, placid triplets over a dominant pedal point. DEVELOPMENT (6:05) Episode 1: synthesis between M1 and S1, in D minor. After the themes swap hands, S1 takes over. (6:37) Episode 2: development of those ascending sixths and thirds in P1, ending in a F7 arpeggio. RECAPITULATION (7:12) P1. (7:41) Suddenly, we hear a shadow of Episode 1: S1 in RH and P1 in LH. (8:04) Modified Transition Section, beginning with inverted hands. (8:31) S1 in the tonic (B♭ major). (9:07) The expected final cadence is replaced by an extended development of S1 and a proper Coda (9:26). Mvt 3: Allegretto [Sonata-Rondo Form] SECTION A (9:43) Theme A in F major. SECTION B (9:59) Theme B in the dominant (C major), almost a variation of Theme A. (10:26) Transition. SECTION A (10:32) Theme A. SECTION C (10:47) Theme C in the relative (D minor).The contrasting mid-phrase at 10:52 is also an obvious resemblance of Theme A. (11:07) Transition. SECTION A (11:29) Theme A, highly ornamented. SECTION D (11:45) Theme D in the parallel (F minor), another variation of Theme A. Usually, Section C is the one in Small Ternary form, but this movement was extended. (12:42) Transition. SECTION A (12:47) Theme A, even more ornamented. SECTION B (13:03) Theme B in the tonic (F major). (13:29) Before the final statement of Theme A, we hear the climax of the movement: an incredible written Cadenza with multiple entrances of Theme A's head in counterpoint. SECTION A (13:59) The last two variations of Theme A — the first is almost unrecognizable by the ornamentation and the other is kinda sloppy and funny (it reminds me so much of the way Mozart ends his 7th Sonata, K.309). ... https://www.youtube.com/watch?v=RpyazD6vBik