Mozart: Piano Sonata No. 14 in C minor, K.457 [Uchida]

I. Molto allegro (0:00)
II. Adagio (5:18)
III. Allegro assai (13:27)

Piano: Mitsuko Uchida

**Analysis in the comments

[miguelfontesmeira]

Analysis:

Mvt 1: Molto allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1), a Mannheim Rocket (M1) in C minor followed by a dominant answer (notice the similarity to Beethoven's Sonata Op. 2 No. 1). There's something about this theme and this movement that keeps menacingly pulsating like a time bomb.
(0:09) Counter-Theme 1 (P2), a haunting descending chromatic line (M2) above dominant pedal point. A cadence brings us to the
(0:21) Transition Section. A false entry of P1 is answered by M1 not in G, but in B♭ major (the secondary dominant). The stream of triplets is M3.
(0:26) Then, we hear a melody in the relative major that could be the Secondary Theme, if that B♭ note didn't keep getting stuck. It grows more and more impatient, until the chromatic M2 brings the authentic
(0:41) Secondary Theme (S1) in E♭, the relative major. This beautiful melody with cross-handed answers still feels somewhat unsafe and dubious. This sense of relentless fear is also very beethovenian.
(0:51) Counter-Theme 2 (S2). The melody gets interrupted by loud chromatic octaves (M2) and comes to a halt. After a dramatic pause, we try to go back to the safe relative major, but M2 destroys our hopes again. In response, a sinking cadenza-like catharsis of fury in F minor is unleashed, and the spirit of Beethoven is foreseen once more.
(1:05) Counter-Theme 3 (S3). We manage to come back to E♭ through a dim7 chord, finally making peace with M2.
(1:16) M3 comes back to close the Exposition.
(1:23) Unexpectedly, we get interrupted by two occurrences of M1 in stretto, ending the section in a very scary and insecure G7 chord. That minor 9th interval in RH is specially spooky.
DEVELOPMENT
(2:57) Episode 1: recalling the Transition Section, a false P1 enters in the parallel major, answered by C7 and falling into that transitional melody in F minor.
(3:07) Episode 2: a modulative series of invertible imitation between M1 and M3 (Fm, D7, Gm, G7, Cm, G7).
(3:20) After a dramatic pause, the tail of M1 comes back timidly, pulsating menacingly. That deep and somber Bdim7 chord concludes the Development, sliding to G7 at the last moment.
RECAPITULATION
(3:31) P1 + P2.
(3:53) The modified Transition also begins with a false P1, but in a very tight stretto. M3 is replaced for the tail of M1, resembling the end of Development Section.
(3:57) We hear some new transitional material in the neapolitan (D♭ major), but it gets stuck again, this time at that G note.
(4:09) S1 + S2 + S3 in the tonic.
(4:45) With the entrance of M3, the feeling of conclusion becomes inevitable.
CODA
(4:53) Mozart fools our ears by introducing extra five statements of M1 in stretto, then presenting a gorgeous sparkling theme that floats in the air for a little moment until it fades away. This long and elaborate Coda is once more an incredible premonition of Beethoven, resembling his extended cadential sections. The choice of ending the 1st movement of a sonata in a 'morendo' fashion is also very innovative.

Mvt 2: Adagio [Ritornello Form]
SECTION A
(5:18) Theme A (A1) in E♭ major.
(6:00) Section A's conclusive Theme (A2) begins with chromatic lines, recalling M2 from mvt 1.
(6:18) Transition. The chromatic call-and-response comes back, reinforcing the secondary dominant (F major).
SECTION B
(6:33) Theme B (B1) in B♭ major.
(7:00) Theme B's conclusive Theme (B2) recalls the call-and-response structure.
(7:20) Brief Transition through B♭7.
SECTION A
(7:32) A1 with additional ornamentation.
(8:13) A2.
SECTION C
(8:33) Theme C (C1) in the subdominant (A♭ major). How wonderful is this melody, so innovative in its lyricism? It's almost impossible to imagine Beethoven hadn't been inspired by this section when composing the 2nd mvt of his 8th Sonata, only 15 years later. Beethoven manages to expand the sublimity of these few measures across a whole movement in itself.
(9:11) We start modulating to B♭ major. Scales run up and down across the keyboard.
(9:34) Instead of the expected return of C1 in the subdominant, it enters in G♭ major — a rather distant key.
(9:49) A sequential progression (G♭, A♭m, B♭m, Cm) leads to the Trasition: a chain of arpeggios modulating to E♭.
SECTION A
(10:43) A1 + A2, even more ornamented.
(11:42) A new passage followed by a brief written Cadenza.
(12:53) Surprisingly, the movement ends in a tonic version of B2, which is elongated by bringing the repeated notes to the bass.

Mvt 3: Allegro assai [Sonata-Rondo Form]
SECTION A
(13:26) Theme A in C minor (A1). The moaning-like syncopations, the sinking feeling and the permanently-unresolved tension are incredibly beethovenian.
(13:38) Counter-Theme (A2). Listen to those dynamic contrasts and dramatic pauses!
(14:01) The transition consists of a simple B♭7 chord.
SECTION B
(14:03) Theme B in the relative major (E♭ major).
(14:23) Counter-Theme (B2).
(14:34) Transition.
SECTION A
(14:44) Return of A1 + A2.
(15:14) As a transition, a fragment of A2 is deviated to a secondary dominant, D♭dim7.
SECTION C
(15:17) Theme C in the subdominant (F minor). The melody seems a series of mournful sighs.
(15:23) Already transitioning, that fragment of A2 comes back, bringing the theme to G minor.
SECTION B
(15:34) B1 + B2 in the tonic (C minor).
(16:04) An interesting transition, foreshadowing the syncopations of Theme A.
SECTION A
(16:11) Return of A1.
(16:17) Before the entrance of A2, doubtful fragments of the first theme keep recurring — much like a small Cadenza.
(16:43) A2, finally.
(17:04) Before the Coda, Theme C comes back once more, in F minor.
(17:12) Coda, similar to Section B's transition at 14:34. The heaviness of those last two measures (not resolving at all the emotional tension of the movement) is also very Beethoven-like.

[fre]

Beethoven was obviously influenced by Mozart. this sonata was completed in 1784 and Beethoven visited Vienna intending to study with mozart in 1786. they met and it is recorded that mozart was impressed with Beethoven's abilities. it seems plausable that Beethoven would have known this sonata and been inspired by it.

[lucasramos]

The beginning looks like Beethoven's first sonata, that's cool

[marcocampus]

The last Mozart is the young Beethoven

[antonellamajorano]

Bellissima interpretazione!! Veramente emozionante. ❤

[Elsie.Furman]

1 часть:

0:00- ГП
0:21 - Связка
0:41 - ПП
2:57 - Разраб.
4:53 - Кода

3 часть:

13:27 - ГП
14:04 - ПП
15:17 - Разраб.

[hyngrixOo]

1 ЧАСТЬ
0:00 - главная партия

0:21 - связка
0:41 - побочная партия
2:57 - разработка
4:53 - кода

3 ЧАСТЬ
13:27 - главная партия
14:03 - побочная партия
15:17 - разработка

[omegads]

This is a song-like sonata though it contains a lot of Haydn's innovation. Not Beethoven's style.

[brianbernstein]

17:25 she plays piano’s lowest C, unwritten by Mozart as it didn’t even exist on his piano 😂

[sebastianhandley]

Jump to 9:30 i think beethoven copied that for the slow section of his Pathetique. Although I think Beethoven's is better.

[evankajikawa]

am i wrong thay the first movement would kill with a little swing 😂

[christianityistrue]

2nd part is attributed to Moses and the apostle John

[liquidnitrogen]

OH MY GOODNESS - DOES THIS SONATA REMIND ANYONE ELSE OF PATHETIQUE BY WILL SOMONE PLEASE SAY YES!!!!

[eduardoguerraavila]

Good piece, with some foreshadow of Beethoven's style, but FAR from being a piece at the level of the great master Beethoven.

[aniruddhadutta]

Horrible interpretation. 1st movement is too fast, no distinction between staccato and non staccato notes in the opening motif. Generally hard to get intepretations that do justice to this sublime piece ... Most seem to botch it in one way or other.

[hermestrismegiste]

I like Ushuda but too fast for my taste. It’s like eating something too fast.