I. Allegro (0:00) II. Adagio (3:13) III. Allegretto (7:04) Piano: Glenn Gould 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. (0:17) 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. (0:31) Transition Section, a canon in two voices separated by one beat, developing P1 in the dominant. (0:47) Secondary Theme (S1) in A major. (1:01) Conclusive Section, recalling P1. DEVELOPMENT (1:08) The last bar of Exposition is repeated, modulating to B♭ major through F7. (1:13) 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. (1:34) Episode 2: recalling P1, a sequence of triads is deployed in order to modulate to the tonic. RECAPITULATION (1:55) P1. (2:05) New Transition Section, developing P1 and treating some melodic fragments imitatively. (2:22) S1 in the tonic. (2:42) Old Transition Section (now S2). (3:02) Conclusive Section. Mvt 2: Adagio [Ternary Form] SECTION A (3:14) Theme A in A major. (3:41) Contrasting theme in E major. (3:55) Theme A is restated, but Mozart plays with the melody and twists the harmony, hitting "wrong notes" all the time. SECTION B (4:10) Theme B in the relative (F# minor), a pulsating set of sighful leaps. (4:32) Contrasting section, a modulating sequence of scales (D, B, Em, C#, C#7). (4:56) Theme B. (5:18) A brief allusion to the previous scales. SECTION A (5:34) Theme A. (6:26) As a Coda, Theme B is transformed into a hopeful A major tune. Mvt 3: Allegretto [Rondo Form] SECTION A (7:05) Theme A. When the theme is restated, the LH is invaded by cascading triplets that take over the melody. (7:23) 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. (7:53) Transition. The triplets come back. SECTION B (7:58) Theme B in the dominant (A major). (8:16) Transition based on Theme B. SECTION A (8:24) Theme A (8:43) The Counter-Theme is extended and modified, modulating to F major. SECTION C (9:01) Theme C is replaced by a section that develops both Theme A and B, resembling Sonata-Form. SECTION B (9:52) Theme B in the tonic. (10:09) Extended Transition. SECTION A (10:25) Theme A. (10:45) Coda based on Theme B. ... https://www.youtube.com/watch?v=avwN0zwDbpU