K. 332 First Movement Analysis
Mozart Sonata No. 12 in F Major
K. 332
First Movement
Rachel Gilmore
MTC 461.001
November 26, 2012
The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it makes a very interesting piece of work, especially with so much contrast within it.
The formal structure of the first movement is sonata form. Not only is this evident in the title but it is very clear after an analysis of the piece has been done. Sonata form is incredibly structured and has specific sections and parts that must be present in order for it to be a true sonata. These sections are split relating to key mostly. All of the required parts are present in this work with the expected key changes, deeming it sonata form. The piece starts with the exposition, excluding the optional introduction that can be added if a composer so chooses. This exposition is the first ninety-three measure of the movement. The end is marked with a repeat sign. In the sonata, the exposition is repeated, so this follows normal sonata formatting. All parts of the exposition are included in this sonata; theme 1, a transition, theme 2, a bridge, a closing theme, and a codetta are all present. These sections within the exposition modulate just as they are supposed to, further showing that this piece is in sonata form. The first theme is in the tonic key of F Major. The transition modulates from the tonic key to the dominant key, C Major, which is typical for a transition. Theme 2 stays in the dominant key, as does the bridge, closing theme, and codetta. The next section of music is the development. It is not very long in comparison to the exposition and the coming development, lasting
K. 332
First Movement
Rachel Gilmore
MTC 461.001
November 26, 2012
The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it makes a very interesting piece of work, especially with so much contrast within it.
The formal structure of the first movement is sonata form. Not only is this evident in the title but it is very clear after an analysis of the piece has been done. Sonata form is incredibly structured and has specific sections and parts that must be present in order for it to be a true sonata. These sections are split relating to key mostly. All of the required parts are present in this work with the expected key changes, deeming it sonata form. The piece starts with the exposition, excluding the optional introduction that can be added if a composer so chooses. This exposition is the first ninety-three measure of the movement. The end is marked with a repeat sign. In the sonata, the exposition is repeated, so this follows normal sonata formatting. All parts of the exposition are included in this sonata; theme 1, a transition, theme 2, a bridge, a closing theme, and a codetta are all present. These sections within the exposition modulate just as they are supposed to, further showing that this piece is in sonata form. The first theme is in the tonic key of F Major. The transition modulates from the tonic key to the dominant key, C Major, which is typical for a transition. Theme 2 stays in the dominant key, as does the bridge, closing theme, and codetta. The next section of music is the development. It is not very long in comparison to the exposition and the coming development, lasting
Bibliography: London: Oxford University Press, 1955. Landon, H.C Marshall, Robert L., ed. Mozart Speaks: Views in Music, Musicians, and the World. New York: Schirmer Books, 1991. Ratner, Leonard Zaslaw, Neal and Cowdery, William, eds. The Complete Mozart: A guide to the Musical Works of Wolfgang Amadeus Mozart. New York: W. W. Norton & Company, 1990. [ 2 ]. Scott L. Balthazar, “Tonal and Motivic Process in Mozart’s Expositions,” The Journal of Musicology 16, No. 4 (1998): 422, http://www.jstor.org.steenproxy.sfasu.edu:2048/stable/pdfplus/763978.pdf. [ 3 ]. Neal Zaslaw, ed., The Complete Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart (New York: W.W. Norton & Company, Inc., 1990), 312. [ 4 ]. Roger Kamien and Naphtali Wagner, “Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions,” Music Theory Spectrum 19, No. 1 (1997): 1, http://www.jstor.org.steenproxy.sfasu.edu:2048/stable/pdfplus/745996.pdf?acceptTC=true [ 5 ]