I. Allegro (0:00)
II. Adagio (5:06)
III. Allegretto (10:24)
Piano: Mitsuko Uchida
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.
(0:21) 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.
(0:37) Transition Section, a canon in two voices separated by one beat, developing P1 in the dominant.
(0:55) Secondary Theme (S1) in A major.
(1:14) Conclusive Section, recalling P1.
DEVELOPMENT
(2:41) The last bar of Exposition is repeated, modulating to B♭ major through F7.
(2:47) 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.
(3:10) Episode 2: recalling P1, a sequence of triads is deployed in order to modulate to the tonic.
RECAPITULATION
(3:33) P1.
(3:45) New Transition Section, developing P1 and treating some melodic fragments imitatively.
(4:04) S1 in the tonic.
(4:29) Old Transition Section (now S2).
(4:53) Conclusive Section.
Mvt 2: Adagio [Ternary Form]
SECTION A
(5:06) Theme A in A major.
(5:43) Contrasting theme in E major.
(6:02) Theme A is restated, but Mozart plays with the melody and twists the harmony, hitting "wrong notes" all the time.
SECTION B
(6:22) Theme B in the relative (F# minor), a pulsating set of sighful leaps.
(6:55) Contrasting section, a modulating sequence of scales (D, B, Em, C#, C#7).
(7:26) Theme B.
(7:59) A brief allusion to the previous scales.
SECTION A
(8:22) Theme A.
(9:34) As a Coda, Theme B is transformed into a hopeful A major tune.
Mvt 3: Allegretto [Rondo Form]
SECTION A
(10:24) Theme A. The LH is invaded by cascading triplets when the theme is restated, and the triplets take over.
(10:58) 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.
(11:18) Transition. The triplets come back.
SECTION B
(11:22) Theme B in the dominant (A major).
(11:40) Transition based on Theme B.
SECTION A
(11:48) Theme A
(12:08) The Counter-Theme is extended and modified, modulating to F major.
SECTION C
(12:28) Theme C is replaced by a section that develops both Theme A and B, resembling Sonata-Form.
SECTION B
(13:22) Theme B in the tonic.
(13:40) Extended Transition.
SECTION A
(13:58) Theme A.
(14:19) Coda based on Theme B.