Analysis: Mvt 1: Allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1). The sixteenth-note figure is M1. (0:05) Counter-Theme 1 (P2), with dominant pedal point. Notice how the linking run (m. 7-8) is actually based on a combination of M1 and m. 3! (0:13) Counter-Theme 2 (P3), with tonic pedal point. (0:19) Transitional Theme 1 (Tr1), modulating to V. (0:25) Transitional Theme 2 (Tr2), using M1 to consummate the Half-Cadence. (0:33) Secondary Theme (S1). The syncopated notes are M2. (0:46) Counter-Theme 3 (S2), resembling Tr1. (0:52) Pre-cadential Theme 1 (Cad1): M2 starts to be developed in the secondary dominant, preparing us for the Codetta. (0:59) Pre-cadential Theme 2 (Cad2): However, a series of arpeggios takes place, being interrupted twice by another (V/V) figure that leads us to a wrong tonic cadence. (1:12) Pre-cadential Theme 3 (Cad3): a last serene pause comes in to correct the tonality and finally conduct us to the (1:15) Codetta. DEVELOPMENT (2:43) Episode 1: modulatory development of Tr2 through minor keys (Am, Em, Bm). (2:56) Episode 2: still modulating through minor keys (Bm, F#m, Em, B♭dim7). The hand-crossing answers persist. (3:05) Episode 3: the hand-crossing toccata-like answers expand, modulating to the secondary dominant (Dm, B♭, E♭, E7). (3:12) That scalar passage in P2 (0:10) comes back, leading us to RECAPITULATION (3:15) P1 + P2 + P3 + Tr1 + Tr2. (3:48) S1 + S2 in the tonic (and I have to point out that breath-taking ascending moment at 3:53). (4:02) Cad1 + Cad2 mainly in V7, preparing us for the Coda. (4:28) As if all that cadential antecipation wasn't enough, Cad3 is elongated even further in Recap. (4:38) Finally, the Coda. Mvt 2: Rondeau en Polonaise [Sonata-Rondo form] |=> This movement is very interesting, for it blends together three musical styles/forms: The Sonata-Rondo (ABACB'A structure), the Polonaise (triple time, Andante, regular and sequential) and the Theme & Variations (if you ignore the episodes, this could easily be a Theme with 6 Variations, antecipating mvt. 3). SECTION A (4:51) Theme A (A1) in A major, second time with a tiny variation in triplets (Variation 1). (5:32) Transition Section: actually, a less obvious variation of A1 with heavy ornamentation (Variation 2). SECTION B (5:53) Episode B, solar scales in the dominant. SECTION A (6:07) A1, exploring abrupt dynamic changes (Variation 3). (6:28) Variation 4: the dynamic changes invert positions and the triplets of Var. 2 return. SECTION C (6:50) Episode C in the relative minor, resembling the Transition. (7:06) Instead of the expected return of A1, we go straight into the Transition. The tonic preparation indicates that this is a Sonata-Rondo. SECTION B (7:27) Episode B in the tonic. There's a funny hesitation to revisit A1, probably fearing how virtuosic the last Variations will be. SECTION A (7:53) Finally, the two grandiloquent, show-off versions of A1. Variation 5 explores the heavily-ornamented aspect of Var. 2, while Variation 6 expands the triplets of Var. 1 and 4. (8:52) After some hesitation and silence, a well-behaved Coda that brings back the Theme's tail (5:27) closes the movement. If we consider the ambiguity of this movement, this Coda could also be considered the final statement of the original Theme after the Variations. Mvt 3: Tema con variazioni (9:09) Theme, in Ternary Form (AABA'BA'). (10:07) Variation 1: the melody is reduced to LH chords with triplet accompaniment in RH. The syncopations produce an interesting effect. (11:01) Variation 2: nice rhythmic contrast between sixteenths and triplets, more like a conversation between hands. (11:57) Variation 3: same principle of Var. 1, but now with sixteenth notes instead of triplets and laconic octave phrases instead of dry chords. (12:52) Variation 4: the first notes of the main Theme (9:11) are transformed into an interesting pattern that accompanies a skinnier version of the original melody. (13:50) Variation 5: a calm version of the Theme consisting of repeated notes accompanied by thirds. (14:47) Variation 6: lively toccata-like hand-crossing dialogue. (15:43) Variation 7: right after the middle of the movement, a grumpy (and quite cynical) variation in the parallel minor. (16:41) Variation 8: back to major, cheerful octaves and thirds dance across the keyboard in march-like rhythms. Notice how far we already got from the original Theme. (17:37) Variation 9: preserving the previous variation's mood and color, this one plays with syncopation and funny imitative dialogues. (18:31) Variation 10: the motivic element here is this flickering octave tremolo, swapping hands now and then. (19:27) Variation 11: and we enter the spectacularly beautiful penultimate variation. Its romantic and improvisatory character resembles genres like the Fantasy or the Impromptu - with that heavily-ornamented melody (to the point of making the theme unrecognizable) above a very stable bass. At first sight it seems completely detached from the original Theme, but looking closely you can see that it fits perfectly in the Expanded Ternary Form scheme (AABA'BA'), as shown ahead: A (19:27), A (20:13), B (21:01), A' (21:26), B (21:57), A' (22:23). (23:04) Variation 12: exactly the same structure as Var. 11 (the "outstretched" Ternary Form), but now at a fast tempo and combining elements from all previous variations. A1 (23:04), A2 (23:14), B (23:24), A1 (23:30), B (23:36), A2 (23:41).

I was going through this sonata today. Just sightreading. and was totally floored by the finale. What is Mozart playing at here? I listened to Eschenbach playing it earlier and he makes it Beethovenian with sforzando bass notes in those odd gaps between the sections although he does play the slow variation very beautifully with much unclassical rubato which works very well here actually. Uchida manages it in a much more Mozartian way keeping the sfz bumps tasteful and making beautiful shapes with the extremely complex finger passages. There is one variation which has a simple alberti bass with extraordinary almost jazzlike improvisatory arabesques in the right hand and she plays this just magically. This is Mozart at his best to be sure although overall the movement still puzzles me. It is also extremely difficult!

I've played the first movement of this sonata, and I can tell you that the hardest part was 1:01, with the 32nd double thirds.

1:15 this part sounds like Schubertz' 4th impromptu op. 90.

For me this is the correct tempo!

4:33 is nice

Amazing

I love Uchida's abilities to play with precision, but she's going100 mph in a 70 mph musical hiway. I wonder if she drives the same way. Look out!

12:53

Nice

This Piece is so wild. I wonder what was occurring in Mozarts life when he wrote this. Anyone have any ideas?

4:12

Girlfriend coming over to cook salt fish fried rice for Mozart...she not coming with her mom😊

BRAVOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO........................................

analysing this piece actually gives me headache

3:54

I particularly like Variation 4 😂 Edit: and 6

11:20

Having ads appearing at various random intervals in a continuing classical piece of music is completely idiotic. Having them at the beginning and the end (if you must) is fine -- but dropped in at random ruins everything. (What sort of musical Philistines ARE you?)

tom and angela

Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤😊❤

No dynamics!

The ads are really, really annoying. The recording is fake - heavily edited and sped up. 0/10 from me.

Like an AI.🥱 I prefer Arrau or Kempff.😊