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SONATA in C Major

(KV 309) in C Major 1. Allegro con spirito

Wolfgang Amadeus Mozart

Analysis By

Anthony Carrella
November 2013 Westminster Choir College of Rider University Musicianship II Dr. Helvering

SONATA in C Major (KV 309) in C Major Wolfgang Amadeus Mozart 2

The first movement will be discussed in this analysis. This analysis aims to show the repeated usage of melodic and rhythmic material in the movement, while highlighting major modulations and phrases. Wolfgang Amadeus Mozart is arguably one of the most influential composers in the Classical period of music. Mozart displayed his musical abilities at age and had complete mastery of keyboards and violin and he had written his first five compositions (YADA, 1). By the time he was in his adulthood, Mozart was composing at [an] astonishing speed, achieving a remarkably prolific output (YADA,1). Mozart had written the Sonata in C Major in November of 1777 at the age of twenty while on a tour from Mannheim to Paris. He had written it in only a few days 1. Mozarts father, Leopold, described the work as "a strange composition ... [having] something in it of the 'rather artificial' Mannheim style, but so very little that [W.A Mozarts] own good style is not spoilt".[3] (L.Mozart, Journal). The piece is written in three movements, beginning with the Allegro con spiritowhich is followed by the Andante un poco adagio and ending with Rondo (YADA, 1). Allegro con spirito is the first movement of the Sonata in C Major. The first two bars begin by using the primary motif for the first theme in the movement:

Anthony Carrella

Musicianship II

Dr. Helvering

SONATA in C Major (KV 309) in C Major Wolfgang Amadeus Mozart 3


Motif No.1- Theme 1: This motif is used seven different times throughout the movement. It is seen in C Major three times, and once in G minor, D minor, G Major, A minor, and C minor.

The movement continues by the left hand playing Alberti Bass, and the right hand highlighting a whimsical melody that appears in the recapitulation later on. There are several shifts from the tonic to the dominant, with the occasional subdominant chord being highlighted. On mm. 13, there is even a first inversion diminished seventh chord of the supertonic. This is resolved to a submediant (vi) chord, and brought back to the tonic (C Major). The second musical theme appears on mm. 21:

Theme No. 2: This theme is brought up twice throughout the movement.

This theme begins by outlining the tonic (C Maj) chord, and followed by striking the dominant chord. This continues and the secondary dominant (V/V) is struck. After arpeggiating through the secondary dominant, the theme returns to (V), and the third theme begins.

Anthony Carrella

Musicianship II

Dr. Helvering

SONATA in C Major (KV 309) in C Major Wolfgang Amadeus Mozart 4

Theme No. 3: This theme serves as a dominant based section.

This theme is introduced by modulation into G Major, and the left hand anchors on the leading tone to put the listeners ear into the modulation. The right hand plays a small eighth note to half note motif throughout this theme. Rhythmic syncopation comes into view at mm. 37. There is a brief section in measure 50 that shows us a a change into a minor through the secondary dominant subtonic fully diminished chord of the submediant. This is a clever use of chordal change, because it does not use the (V/V) like he has used in the previous material. The theme ends on a perfect authentic cadence after being brought through a progression (I, ii, V, I, IV, V, I) in the left hand.
End of Theme No. 3: Mm. 50: Shows us subtonic fully diminished chord of the submediant. (vii/vi)

The next section of the movement brings back the rhythmic and melodic material from theme number one( in G minor). He does this because the previous theme ended on a G Major triad, and he is able to recapture the rhythmic and melodic content through this key.
Anthony Carrella Musicianship II Dr. Helvering

SONATA in C Major (KV 309) in C Major Wolfgang Amadeus Mozart 5

Mozart uses the pre-existing material from the first them G Minor to bring the movement into shape. He brings us through a few different keys. The movement continues from G minor into D minor, and then into A minor. This is an example of a circle of fifths progression. From mm. 59-81 we see a major D Minor compositional shift. In this development, Mozart brings us through chromatic alterations, from the (V/V) to the dominant.

A Minor

G Major

Mozart also uses C Minor as a means to get back into the key of C Major. He begins by using the motif from Theme 1, and brings it into C Minor. He then is able to seam it into the G Major, because these keys share a dominant. Instead of tonicizing back at C Minor, he returns to the orginal key of

C Minor

Theme one, and the recapitulation of the movement begins.


Anthony Carrella Musicianship II Dr. Helvering

SONATA in C Major (KV 309) in C Major Wolfgang Amadeus Mozart 6

To conclude, this piece is written in sonata form. This form includes the exposition, development and the recapitulation. The exposition is shown from mm. 1- 59. The development begins at mm 60, and ends on mm. 100. The recapitulation is shown from the (vi) chord marked on page 154 of my analysis from mm. 100- to the double bar line. This movement of Sonata in C Major takes the listener on a journey through similar keys and modulations. It also displays a wide range of repeated rhythmic and melodic material through alteration. Wolfgang Amadeus Mozart does an exceptional job of writing for the piano at this time. The instrument was so innovative, no one had really written for it yet. This work displays some of the earliest ideas of the pianoforte canon, and I believe it is a valuable work to consider when analyzing the works of Mozart.

Anthony Carrella

Musicianship II

Dr. Helvering

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