As was typical of the time, the work is in three
movements, in a standard fast, slow, fast order:
I. Allegro In D major, the first movement is in
sonata form and begins with both hands in unison, followed by some trills and a repeat in
E minor. This material is used and varied for the first
theme, finally
cadencing to the
dominant, where the second theme provides a more graceful contrast to the grandness of the first. The
development section includes many different keys, but starts in the dominant, using counterpoint and harmonic imbalance and exploration. This gives a feeling of tension, which is then resolved before returning to the
recapitulation in the
home key. Tension and release was a key aspect of the classical era, as it provided composers with a chance to interrupt cadences and draw out tension in order to create an exciting piece. It also helped to extend melodies as a new theme could be made after the release, as is shown in this movement.
II. Adagio {{Image frame|content= { #(set-global-staff-size 14.5) \set Score.proportionalNotationDuration = #(ly:make-moment 1/7) > \new Staff 4(_\markup { \concat { \translate #'(-7 . 0) { "A: vii" \raise #1 \small "o7" "/ii" \hspace #7 "ii" \hspace #1.8 "vii" \raise #1 \small "o" \combine \raise #1 \small 4 \lower #1 \small 3 \hspace #1.8 "I" \raise #1 \small "6" \hspace #4 "vii" \raise #1 \small "o" \combine \raise #1 \small 6 \lower #1 \small 5 "/ii" \hspace #7 "ii" \raise #1 \small "6" \hspace #13 "I" \combine \raise #1 \small 6 \lower #1 \small 4 \hspace #3.7 "V" \raise #1 \small "7" \hspace #5 "I" } } } ) r8 8( ) 8 r \clef bass r r 4( 8) } >> >> >> } |caption=Example of a
borrowed chord (vii = G–B–D–F)}} The middle movement is in the dominant key of
A major and includes many scale passages as well as counterpoint. Mozart uses harmonic exploration throughout the sonata such as
suspensions and
dissonances. There are some
chromatic elements in this movement, as is common in many of Mozart's later works.
Diminished chords are used to help
modulate frequently and a series of keys are cadenced into. These harmonies can also allow more melodic techniques to be used.
III. Allegretto The last movement has a playful mood and is light in texture, however the articulation is marked carefully and precisely to maintain clarity, as was common of the time. It is in
sonata rondo form. The first theme is followed by a number of scale passages and a short series of
arpeggios. The same material is used for the rest of the piece, although there are some differences towards the end. ==References==