Mozart - Piano Sonata in Bb, K. 333: Movement I

• Composed 1783

• The first movement of a CLASSICAL three-movement sonata

• Intended for domestic, teaching, or concert

• Solo instrument

- Classical features - Sonata form, periodic phrasing, melody-dominated homophony, broken chord/alberti accompaniment, clear light textures, clear harmonic progressions, regular cadences

• Simple-quadruple time (common time)
• Allergro 

• Repetitive rhythmic patterns in the melody
• First subject starts with an anacrusis

• Syncopation in the first subject

• Continuous semi-quaver movement in the later stages of second subject

- increased momentum

• Periodic phrasing at opening of second subject

- Contrastingly - First subject has a four bar phrase, answered by six bar passage

• Movement opens diatonically, but chromatic inflections are frequent
• Melodies often extended by sequence

• Ornamentation - appoggiaturas, turns, cadential trill

• First subject developed with fragmentation, bars 68-69

• Functional, with regular cadences - perfect and imperfect

• Classical cadential 6-4

• Appoggiatura chords e.g. bar 63
• Diminished 7th chords e.g. bar 69
• Augmented 6th chords e.g. bar 80

• Tonic and dominant chords

• Clearly defined, with modulations that delineate the structure

• First Subject: Bb major 
• Second Subject: F major (dominant)

• Modulations to related (Cm, Gm) and unrelated (Fm, Ebm) keys in the development

• Recapitulation has first and second subject in tonic key

Sonata form:

Bars 1-63: Exposition:

- Bars 1-10: First Subject, Bb major

- Bars 10-22: Transition, Bb major

- Bars 23-63: Second subject with codetta, F major

Bars 63-93: Development. Through F major, F minor, C minor, Bb major, G minor. Dominant preperation for...

Bars 93-165: Recapitulation, Bb major

- Bar 119: Second subject at bar 119, now in the tonic rather than dominant.

• Early wooden framed piano (fortepiano)

- Five octave range

- Replaced harpsichord as the instrument of choice for concert hall and home

- The piano was able to show off Mozarts' virtuosity, and capable of delicate dynamics

• Melody dominated homophony, with the right hand carrying most of the melody throughout

• Lean textures, often consisting of two lines
• Occasionally, the right hand plays octaves
• The left hand uses broken chords (occasionally Alberti bass)

• The densest chords occur at the start of the second subject, to emphaise tonality at these points)