RTV repertoire catalog

Mozart - Sonata No. 1 - K. 279 - Third Movement

ID 4160 · Mozart, Wolfgang Amadeus · Piano · Level 7 · Points 95875

Non-Commercial · Download listed · Match: filters

The finale of Mozart’s Sonata No. 1, K. 279, is a bright Allegro in C major and two-quarter time. Its opening contrasts a spare upper melody with short left-hand chords, then quickly unfolds into running sixteenth notes. The hands frequently exchange roles, and rests leave small gaps between the phrases. A repeated opening section, a compact development, and a return of the main themes give the movement a clear overall shape. Opening theme: A single pickup note leads to sustained upper notes over a light chordal accompaniment. A quick run interrupts this simple outline, and the melody moves into shorter, more active figures. The lower hand supplies both individual bass notes and brief chords. As the passage grows stronger, the hands share rising patterns before the right hand continues alone over a more widely spaced accompaniment. Contrasting theme and closing section: A quieter theme uses repeated notes and short slurs, with rests making the exchanges easy to hear. The left hand sometimes holds a bass note under a moving inner figure; elsewhere it takes over the sixteenth-note motion while the right hand plays separated notes above. Small ornaments decorate several arrivals. The closing passage moves through short rising and falling figures before reaching a cadence and repeat sign. Development: The middle section reshapes the repeated-note idea in changing harmonies. The upper hand pauses while the lower part continues, then both hands join in more active exchanges. Accents, altered notes, and shifts of register sharpen the contrast with the opening. A brief held pause interrupts the motion before familiar sustained notes and descending runs prepare the main theme’s return. Return and ending: The opening material comes back with its light accompaniment and running figures. The contrasting theme follows, again alternating held notes, short responses, and active inner parts. On the final page, the hands trade little gestures across different registers. The closing passage gathers energy through ascending figures and brief trills, then ends with two emphatic chords separated from the preceding run. Interesting fact: The finale begins with only one short note in the right hand; the left hand waits until the first full measure to enter.