Mozart: Piano Sonata No. 8 in A minor, K.310 [Uchida]

I. Allegro maestoso (0:00)
II. Andante cantabile con espressione (8:04)
III. Presto (18:48)

Piano: Mitsuko Uchida

Mvt 1: Allegro maestoso [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1). The march-like dotted rhythm is M1. After a brief calmer pause, P1 comes back.
(0:21) Transition Section: P1 is diverted to Cmaj7, looking forward to the secondary dominant through Dm. At 0:29, M1 is used twice, alternating G and Cm.
(0:40) Secondary Theme (S1): the minor tonic modulates to its major relative, C major. Rapid sixteenth notes cascade down, embellishing repeated chords in LH.
(0:50) Counter-Theme 1 (S2): the LH becomes contrapuntal for a brief moment.
(1:02) Counter-Theme 2 (S3): now the LH plays a staccato figure that appears to recall P1 (compare it to measures 2-3). Both hands swap roles.
(1:19) Codetta, using M1 extensively.
DEVELOPMENT
(2:57) Episode 1: P1 in C major. It is deviated to a dim7 version of the Transition. A series of descending Cmaj7 arpeggios lead to
(3:12) Episode 2: imitative development of M1 in RH, ascending by fourths. The minor 2nd clashes in LH and RH add an incredible amount of drama and tragedy to this passage.
(3:32) Episode 3: the rapid notes of the Secondary Section reappear in LH, while the RH recalls the tremolos from S3.
(3:40) More dramatic than ever, the tremolos swap to LH, alternating tonic and dominant in preparation to Recap. A poignant chromatic scale finally leads us to
RECAPITULATION
(3:50) P1. At 4:06, the combination tremolo+bass is again used to a dramatic effect. P1 in extended in the bass, guiding us to a modified Transition.
(4:34) S1 in A minor. What was a vivid and sparkling theme now seems timid. Notice how the previous repeated chords, so confident of themselves, are now alternating thirds.
(4:44) S2.
(4:57) S3.
(5:14) When we expect the Coda, Mozart inserts a short Cadenza-like passage breaking dim7 chords.
(5:20) Finally, the Coda based on M1.

Mvt 2: Andante cantabile con espressione [Sonata-Form]
EXPOSITION
(8:04) Primary Theme (P1), stated twice with some variation.
(8:44) Transition Section. The initial melodic line seems to be inspired by P1 (the up-and-down motion). Then, it starts modulating to the dominant, C major.
(9:16) Secondary Theme (S1). The second statement has that tremolo-bass configuration.
(9:38) Counter-Theme 1 (S2), expanding and inverting some figures from S1.
(9:55) Counter-Theme 2 (S3).
(10:17) Counter-Theme 3 (S4), expanding (a lot!) that demisemiquaver scale from the beginning in both hands.
(10:36) Codetta.
DEVELOPMENT
(13:47) Episode 1: P1 in the dominant, accompanied by heavy chords.
(14:15) Episode 2: Unexpectedly, new thematic material emerges. The first developmental theme (D1) consists of a melodic line repeated three times and supported by a ascending triplet pattern (Cm, Gm, B♭)
(14:41) Episode 3: The triplet rhythm is transfered to RH, but now in repeated notes (an allusion to S1?), while the LH holds the melodies/tremolos (D2). This is probably the emotional epitome of the movement.
(15:13) The repeated notes are now in LH, preparing for the tonic. The RH seems to somewhat recall D1.
RECAPITULATION
(15:31) P1.
(16:15) Modified Transition Section. This time, we wander across various tonalities, just to modulate back to the tonic (F, F7, B♭, D7, Gm, C, F).
(16:48) S1+S2+S3+S4 in the tonic.
(18:21) Coda.

Mvt 3: Presto [Sonata-Rondo form]
SECTION A
(18:48) Theme A (A1). The dotted rhythm will be developed and expanded through the rest of the movement.
(18:59) Counter-Theme 1 (A2)
(19:04) Transition Section, clumsily passing through Cm and G (V/V). It sort of imitates the melodic contour of A1.
SECTION B
(19:08) Theme B (B1), a descending dotted rhythm (fragmentation of A1?) in the relative major.
(19:17) Counter-Theme 2 (B2) A cadence to C is interrupted by this poignant passage accentuating dim7 tonalities.
(19:21) B1 comes back, but is interrupted by A1's bare melody in the bass, in Em (already preparing for the tonic).
(19:28) B1 fights back and resurfaces, also in the bass and in Em. The second time, its cadence to E is interrupted again by
(19:37) A combination of B2 and A2.
(19:41) Transition.
SECTION A
(19:48) A1+A2
(20:00) Transition. As you can see, it's actually B1 in the tonic.
SECTION C
(20:09) Theme C in the parallel major. As usual, it's in Ternary Form.
SECTION A
(20:47) A1.
(20:58) A2 is modified, getting stuck in Dm.
(21:03) A1 reappears in the bass, and again in RH.
SECTION B
(21:08) B1 in the tonic (Sonata-Rondo form!). The second time in the bass, then the cadence to Am gets interrupted by
(21:16) B2.
(21:20) B1 manages to appear two more times.
(21:27) Instead of a last statement of Theme A, we fall straight into this marvelous and impatient imitative Coda.