Mozart: piano sonata in F minor.

K.332
A POLITICAL ANALYSIS. GIANPIEROLUQUE.

Some generalities.

A recurring feature in Mozart's work, and of which this piece is a

An example of this is the thematic diversity that it encompasses in numerous movements.
written in sonata form. Perhaps the most outstanding feature of this quality in the present
this case is given by the existence of a new topic at the beginning of the development
same. On the other hand, the thematic profiles are not given here in their succession according to a
decantative logic. The topics do not necessarily deduce one from the other (as we will see
then in Beethoven's sonata), nor the main element of the group either
The thematic B can be referred to here in relation to group A as a form of variation or
reworking of the same (a very frequent thing in Haydn). The plurality of themes presented in
the game does not derive, however, into a mere accumulation of disconnected elements. The logic
formal is guaranteed here mainly by a complementary contrast of the
elements and a correlation of cadential gestures and rhythm treatment. We will begin
for pointing out the large structures of the form:

• Bars 1 to 93: Exposition.

• Measures 94 to 132: Development.
• Measures 133 to 229: Reexposition.
Exhibition.

We can differentiate two thematic groups (A and B) with their constituent sub-elements and a
bridge or transition in between.

Between measures 1 to 12, we distinguish the 'a1', which is segmented as a phrase.

ternary with divergent elements. This also applies to the treatment of
accompaniment of each semiphrase. The first 4 measures display an accompaniment
Figuratively, in the following 4 measures, there is an imitative counterpoint between the two.
hands, while the last 4 measures refer to an intermittent type of accompaniment.
From the harmonic perspective, it is noteworthy that an early use of a secondary dominant is present.

of the IV grade in measure 2, which may allow for a certain ambiguity.

perception between F major and B flat major that is quickly resolved to the former.
A separating silence of black articulates element "a1" of the subsequent "a2". The
the characteristics of the latter complement the former in terms of number of
measures (10 measures of 4+4+2), harmonic simplicity (worked only with)
tonic and dominant chords), type of beginning (anacrusis, in opposition to 'a1', which is
timbre), articulation, register (medium acute) and texture (homophonic throughout its extension).
These 2 constitutive elements of group A are, however, despite the differences indicated,
for a similar cadential gesture of V7-I dressed with the same rhythmic pattern of 2 quarter notes in

"rise and fall," being succeeded, in turn, by an articulated silence of black (compare
raise and fall to the beat 12 and raise and fall to the beat 22). From this finalizing gesture,
the initial gesture of the immediate subsequent bridge is worth it, which implies a sudden change of axis

Tonal to the relative minor of F major (D minor).

The following 18 measures can be considered as a bridge due to their process.

modulating harmonic that it exhibits. Starting from the already mentioned sudden change of tonality

we can distinguish a model and sequence between A minor and C minor (compare the
measures 25 to 27 with 29 to 31). Once arrived at the area of do m, the floor was reached.
the tonic of what will be Group B, that is, the dominant, but in a minor mode.
This last feature characterizes the entire bridge and represents an element of strong contrast with
regarding Group A and the imminent subsequent topic 'b1', thus generating a chiaroscuro
persisted in the semicadential phase of measures 37 to 40, where we observe the
recurrence of V alternating with I in 6/4 of C major. The arrival at Group B in C major implies
the restitution of the original M mode of the movement (beyond the change of Tonality).

We can point out an existing relationship between the characteristic propulsive element of
bridge, its accompaniment, and the first 2 measures of the sonata. At the beginning of the
transition restores the formula of accompaniment of figured harmony in the hand
left. Likewise, the interval of the eighth note cell + 2 sixteenth notes of measure 23
it involves, just like measure 1, the deployment of an ascending arpeggio, but compressed in
much shorter values. Clemens Kühn draws attention to the progressive
numerical compression of the groups of measures throughout the transitional process:

Starting from measure 23: 4 + 4 + 2 + 2 + 2 + 1 + 1 + 2

The measures indicated as 1+1 are justified in terms of the recurrence of the rhythmic profile,
melodic and harmonic given in both measures (37/38) around the 'G' as the central note.

Just as the silence of black given in measure 22 had an articulating function or

separation of Group A and Bridge, the same happens with the black silence of measure 40,
that divides the transition of Group B. As soon as it arrives in the new thematic area, it is restored.
a symmetrical structuring of measures in the phraseology of the new element ('b1'). This
the first member of the Thematic Group is divisible into two equal halves of 4+4 measures,
that repeats in the successive eight measures in an ornamental form and with a
almost entirely figurative accompaniment (measures 49 to 56). Otherwise, the harmony
It is entirely diatonic and its chordal implications do not go beyond Tonic,
Subdominant and Dominant.

The last measure of 'b1' overlaps or elides with the first of 'b2', a point at which,
again, a stark contrast is established with the imposition of the minor mode. Furthermore
from this last point, the most characteristic feature is the design of setbacks of the
right hand. Harmonically, the chords are linked in a sequential chain by 5th
descendants of four-part structures with 7° of prolongation (measures 60 to 65). From
In the same way as in the bridge, the minorization of the tone is associated with a propulsive design.
of rhythm, as well as to a process of shrinking of the groups of measures or, in
this case, group of pulses that make up the model of the sequence. The harmonic rhythm of the
it is the same for one chord per measure, but towards measures 64 and 65 a hemiola generates a
chord change every two beats. On the other hand, also here the minorization of the passage
is crowned by a prolonged semi-cadence (bars 67 to 70). However, this extended
expectation about the 5th grade is diverted when inserting a new element into the
measure 71 (beginning of 'b3'). This brief theme presented here starts from the IV degree
and it flows in the measure 76. The rhythmic profile of the first measure of 'b3' is associated
with the first measure of 'b1' as a repetition over a sustained note. The replica of the
a phrase 8° higher (measure 77) presents an appendix of two measures (measures 82/83)
whose features date back to the syncopated design of the 'b2', which, at the same time, is subjected to a

variation in the next two measures (measures 84/85), thus increasing the density
of attacks progressively throughout this passage. This leads to the
cadencing to the I degree in the fundamental state of measure 86 based on the arpeggio of
Tonic in sixteenth notes of the bass. The given segment between this drop to measure 86 and the
double bar is constituted by the Coda of the exhibition and its material is substantially
more neutral than the rest of the elements described here. The fall of two black pieces
last measure of this presentation on the basis of the Tonic of C Major is comparable to the
turn given in measure 40 (end of the bridge) based on the Dominant of it
tonality.

One last point deserves mention is the change of mode given throughout the
deployment of Theme Group B. The interpolation of the minor mode in the 'b2' in the middle of
The surrounding M ('b1' and 'b3') allows us to speak here of the 3 operating tonalities of
the Exhibition (Fa M. Do M. and do m.), which, as discussed in a previous class, constitutes
a specific type of harmonic-formal organization of exhibitions towards the end of
eighteenth century.
Development.

As previously noted, the development begins with a new material.

thematic. This characteristic can be traced with some frequency in the work of this author,
mainly during its Salzburg phase, and accounts for the aforementioned pluralism
Mozartian. (To cite two similar examples, we can refer to the 1st movement of the symphonies.
N° 25 and 29.

The profile of this new element has a rhythmic similarity to the beginning of the 'b3.'
of the exhibition. But such an association remains at a purely evocative level. Nothing further
it follows from this. This topic asserts itself by right in the development (as if of
An exhibition will be held and it typically occupies a length of a phrase of 8 measures divided.
in two semi-phrases of four. In turn, this phraseological arc is repeated in a serious 8°.
eliding in its last measure with the reimposition of element 'b2' from the exposition.
The tonal area of all this is C Major, that is to say, the key with which one...
the exhibition area has concluded.

We have seen that two essential elements of 'b2' were the change of mode to
smaller and the sequential treatment. Both characteristics are repeated here. Only two
Once the appearance of 'b2' has begun, the harmony undergoes a minorization and from there
here the transited tonal areas will be articulated based on a pattern of ascending 5°:
D minor - G minor - D minor. The specific model and sequence can be found in the
segments that go from measure 114 to 117 (model in G minor) and from 118 to 121 (sequenced)
In re m.). This process is completed by an augmented 6° that leads to an extended V.
semi-cadence of B minor (measures 122 to 126). The arrival at V in measure 123 suggests
the culmination of development and the perception of this is given thanks to achievement
gradual of the sharp limit of the register, assuming the point of escape or release of the
sequence and the fact of being preceded by an augmented 6th tension chord. The
meeting of these factors (together with the further prolongation of the V degree of the tonality
principal), otherwise, constitutes little more than a formula reiterated in numerous
final stages of development in Sonata shape.
The final segment of the development given between measures 123 and 132 constitutes the
retransition. In this case, it does not occur, at least in principle, based on V.
degree of the main tonality of the piece (F M.), but rather based on the V degree of
relative minor (D minor tonal area heard and already identified as the one with which it is
the bridge began at the exhibition). From here, a procedure is developed to modulate
to the main tonality that we could divide into 3 parts:

1 - Memorization of the V degree of E minor. (the A major chord shifts to the

m. in measure 127). With this, the

expectations of resolution to that tone, and at the same time, promotes a
approach to the area of Fa M. due to deriving into a chord
Content in its scale (the chord of the m. is the III of F Major).

2 - Implementation of the V of Fa M., but in investment (V in 4/3 in

the compass 129), reserved the fundamental position for the end of
process.

3 - Repositioning of the V of Fa M. in the ground state in the

compass 131, now conferring maximum strength to the
same.

If we look at the development in its entirety, we can see that it is not recorded here...
true motivational-thematic elaboration of pre-existing materials. In fact, one of
The elements of development is a new topic that does not lead to subsequent ones either.
transformations of it. The sequence is the factor that contributes to the driving of the
section. We can also say that, aside from the change of modality, the tonal plan
this development does not imply the exploration of tones that go beyond the notes
diatonic scales of the original key of F Major. (C / c / g / d). Finally, we can
distinguish 3 phases within this section, which represent the segments of the new topic and its
repetition (measure 94 to 109), the reinstatement of the characteristic element of 'b2' (measure
109 to 123) and the retransmission already explained (measures 123 to 132). Regarding the extension of

respectful compasses, these three segments show a progressive narrowing directed towards the
mouth of the Reexposition (16+15+10, counting the points as a measure of the beat)
elision in each case).

Reexposure.

Given the almost total correspondence regarding the Exposition (both in terms of
of the succession of elements as well as in its extension), we will limit ourselves only to point out
a unique point of differentiation, which promotes persistence in the tonal area of
Fa M. for Group B.

On the bridge, we can observe that the sequencing that was going through re in the Exposition
my do m extends now in one more descending link (re m., do m., si
B flat minor. This brief instance of B flat minor (measures 165 to 168) functions as
subdominant of the minor mode of F, to then concatenate it with the leading note of the V
(measure 171) and solve this last one, reflecting it with the I in 6/4 of the minor mode.
(compasses 173/174), playing thus the same effect of modal chiaroscuro of the Exhibition that
will reveal the M mode of the new thematic area only once reached its
first element, "b1".

Given the already noted consistency in the order of the themes and other elements provided with
regarding the Exhibition, we can say that this Reevaluation corresponds entirely to
type of 'direct'.

Final comments.

To conclude, and returning to the reference we initially made regarding the

the thematic plurality given in the formation of the sonata form in the works of Mozart in
general and in this particular piece, we propose, for comparative purposes, to contrast the
present movement analyzed here with an example of another reference from the same period
which responds to an eminently monothematic conception; we refer to Franz J.
Haydn. Let's take as a model the 1st movement of Symphony No. 104 in
Re M. ('London'). Here the main element of Group B is nothing other than the
theme A heard before the bridge, but transported to the key of the Dominant (A Major).
the very act of transposition makes that element (which in its rhythmic-melodic profile is
virtually the same) a contrast factor. It should be noted that, in addition to the hue,
Instrumentation practiced in B (winds + strings) is distinguished from that applied in A.
(strings). In the version we attached, the main thematic element of A will be able to
locate at minute 2.20 and the main initiating element of the thematic Group B in the
minute 3.10

As a training activity during the week, we will propose the following

analysis of the 1st movement of Beethoven's Piano Sonata No. 1 in F minor. The day
next Sunday (31/5) the analysis of this will be uploaded so that everyone can
you can verify your results. Then, based on that verification, you will be able to
submit your questions or inquiries in the Forum next Tuesday. (Comments and questions in
relation to the analysis of Mozart's sonata of this class can be expressed today itself in the
Forum).

Taking as a model the analysis of the study done with the Sonatas seen up to this point,
we can also develop a series of points that will serve as a guide when approaching
the proposed activity. These points or items/guidelines are as follows:

1 - Sections: measure number at which each starts and ends

one.

2 - Tonalities at play in the harmonic plan throughout the

movement.

3 - Distinction of the thematic elements at play.

4 - Characteristics of the themes; this implies the initial rhythmic profile
(anacrusic, thetic, acephalous), articulation, register, texture (type of
accompaniment). Establish relationships between the thematic units,
if there are any.

5 - Detection of sequences.

6 - Type of re-exposure (direct, indirect, degenerated, etc.).

7 - Detection of retransmission.

Lic. Gian Piero Luque.

May 25, 2020.