Mozart: Piano Sonata No. 9 in D major, K.311 [Uchida]

I. Allegro con spirito (0:00)
II. Andante con espressione (4:19)
III. Rondo. Allegro (9:13)

Piano: Mitsuko Uchida

Mvt. 1: Allegro con spirito [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1). The wavy figure is M1, the four ascending quavers are M2.
(0:17) Transition Section. RH expands the scales of P2. (Also, notice how 0:19 is M1 inverted!).
(0:26) Secondary Theme (S1) in A major. The inversion of M2 appears a lot of times.
(0:39) Counter-Theme 2 (S2).
(0:45) Counter-Theme 3 (S3).
(0:58) Cadential Theme. At 1:01, a galloping figure in descending sixths (M3) brings additional closure to the Exposition.
DEVELOPMENT
(2:10) Episode 1: M3 is developed extensively, modulating across minor tonalities. M3 wants to complete its cadence to A major, but gets deviated all the time. At 2:32, it finally resolves into the relative minor of D (Bm). Then, some hesitant chords lead us to
(2:41) Episode 2: S3 in G major.
(2:54) Episode 3: expansion of that pre-cadential measure at 0:58. We start modulating and getting lost (G, D, Em, D, G, E7)...
(3:08) Episode 4: and suddenly the transitional theme based on the inversion of M1 comes back, leading us to a surprising
INVERTED RECAPITULATION
(3:14) The Secondary Theme appears in the tonic, then shifts to Dm for a moment (Mozart does the same in the Recap of K.309).
(3:28) And then we realize how Mozart is an amazing craftsman: he transforms the secondary Counter-Themes (S2+S3) into a new Transitional Section, as if rearranging the whole Exposition. We hear S2 and S3 in the tonic, conducting us back to the
(3:48) Primary Theme.
(3:58) Now that the Inverted Recapitulation is complete, a new Bridge (resembling the scales of the initial Transition) emerges to prepare us for the Coda.
(4:04) When we finally get back to a familiar pre-cadential theme, the expected dominant7 chord is deviated to the relative minor. We stand still for a moment, until M3 comes back and closes the movement.

Mvt. 2: Andante con espressione
*The structure of this movement is very ambiguous and difficult to categorize accurately, so I'll present some ideas. The first possibility is a "Sonatina-Form", lacking the Development Section (notice that the Secondary Theme appears in the dominant and returns in the tonic). The second idea is a modified Sonata-Rondo, with structure AABA'CAB'A''C'A (the tonic return of sections B and C also fits well with this idea). The third possibility, which is my favorite and the basis for the analysis below, is an Rounded-Binary form in AABA'B'A' structure. The reason why I like this analysis is because I recall other movements by Mozart shaped like that and I was very intrigued by the repeat sign at the beginning.
SECTION A
(4:20) Theme A, consisting of two parts: A1 is the initial 8 bars, then A2 is the melody over semi-quavers. The three descending octaves in m. 3 are M1.
(5:19) Bridge based on M1.
SECTION B
(5:33) Theme B in the dominant.
(5:54) False entry of Theme A in the dominant (wrong key). LH interrupts RH with another fragment of A1; both hands are trying to establish the return of Theme A, but they have to modulate first.
(6:04) Another bridge based on M1.
SECTION A'
(6:32) Theme A in the tonic, with embellishments.
(7:04) The bridge from the beginning returns, but now it prepares us for a tonic Theme B.
SECTION B'
(7:13) Theme B in G major.
(7:35) Once again, a fragmentary False Entry of Theme A, followed by a Transition.
SECTION A''
(8:13) Theme A, more ornamented.
(8:44) Coda, based on an extension of A2.

Mvt. 3: Allegro [Sonata-Rondo form]
SECTION A
(9:14) Theme A. The initial appoggiatura+note is M1 and the descending scale (m.5) is M2. At 9:31, M2 expands.
(9:33) Transition Section.
SECTION B
(9:45) Theme B (B1) in the dominant, based on M1.
(9:54) Counter-Theme 1 (B2) based on M2.
(10:01) Counter-Theme 2 (B3), polyphonic.
(10:20) Counter-Theme 3 (B4).
(10:41) Counter-Theme 4 (B5).
SECTION A
(10:55) Theme A.
(11:16) After we hear the tonic arpeggios unexpectedly ending in D7, a Modulatory Transition to the relative minor begins (G, Em, D, F#m, Bm).
SECTION C
(11:36) Theme C (C1) in B minor (deliciously beethovenian, if I dare say).
(11:59) Counter-Theme 5 (C2) in G major.
(12:17) Return of the Transition. As we approach D major and our ears crave for the Recapitulation, Mozart fools us — a dominant7 chord interrupts the flowing motion of the rondo, and we hear this beautiful written Cadenza.
SECTION A
(13:07) Theme A, second time an octave lower.
SECTION B
(13:26) Mozart transforms B1 in the new Modulatory Transition (same procedure as in mvt 1!).
(13:44) B2 + B3 + B4 + B5 in the tonic.
SECTION A
(14:34) The final statement of Theme A.
(14:44) Once more fooling us, the Transition starts to play. Suddenly, it gets interrupted by an agitated Coda that ends the movement abruptly (Notice how this Coda is a variation of that transitional motive: the four chords).

[JuanRamónSilva-Piano]

This sonata is such a joyful contrast to his previous sonata no. 8, which has a very dark tone as it was composed after his mother’s death.

To me, this sonata signifies a new spark of joy and blissfulness found after a very tragic event. It is very different to all his previous sonatas, new concepts appear here that Mozart had not used before, and then he built upon them in later sonatas.

For me, this sonata is after number 8, Mozart’s first master piece in the sonata form. Such a memorable work.

[kyonsirius]

Beautiful! I'm glad people are still listening to these genius, often forgotten masterpieces of art!

[arongach]

Every single time I listen to this sonata I wonder how incredible this motive is (which begins at 11:30) I don't often hear such a honest and sincere feeling music in today, like this...

[kvancates]

From 11:28 I personally like Iban Berhan's interpretation of this theme better, but all around, it's a great, fine-tuned interpretation of the piece. Thanks for the upload.

[simplyburak]

My favorite sonata of all time. So proper, so condensed, so light and, nevertheless, so exquisite. I simply cannot add any critique to that!

[Mfjsk-jdgz]

Thank you for your good quality video and beautiful music.

[yeonokjun]

I’m playing this piece right now… I hope to play like this person after I’m done!🥰

[JuliaM]

Ох, помню, как я играла первую часть этой сонаты на выпускном экзамене в музыкальной школе. Моя любимая учительница до сих пор со смехом вспоминает о том, как я этой самой сонатой прибавила ей седых волос на голове ))) Я в такой бешеном темпе её играла, что она, по её словам, с ужасом ждала, когда у меня заплетутся пальцы ))))

[yeonokjun]

Listening to this again, I just realized I need to work on this way more, LOL!😂

[exorcysed]

Thank you so much for this this helped me alot

[alfredwu]

That is the best music pieces l ever heard
Thank you

[lflagr]

4:42 Is this edition wrong or is Uchida clearly playing a wrong note in the RH melody? (she plays a D instead of the B in the score). She does it again when it repeats!

[pierluigibiffi]

La velocità va a scapito dell'espressione!

[jamesrockybullin]

I’m learning no. 18, but no. 9 is my favourite. Unfortunately the exam board thinks this is too easy. :(

[christianweatherbroadcasting]

Repent and trust in Jesus. We all deserve Hell for our sins, such as lying lusting coveting and more. We can't save ourselves, but Jesus can save us. He died on the cross to save us for our sins and rose from the grave defeating death and Hell. You must put your faith in him only. He is the only way to Heaven. Repent and trust in Jesus.
Romans 6:23
John 3:16❤😊❤❤

[seanneal]

It is clearly a copiest error. Mozart would never had finished the end of the first part in the major but rather as Glenn Gould corrected it in his playing at least.