Analysis of mozart k 331 theme and variations

Mozart sonata 11

Relationships to later compositions[ edit ] The theme of the first movement was used by Max Reger in his Variations and Fugue on a Theme by Mozart for orchestra. Note that the sentence overlaps in Bar 41; and that in the final cadence in Part I repeated in Part III the penultimate chord starts as the dominant thirteenth. Section A: This section , in A minor, consists of a rising sixteenth-note melody followed by a falling eighth note melody over a staccato eighth-note accompaniment. This, combined with the humour and pompousness of the major sections, creates not a balance, but a stark contrast that Mozart uses to show his fun side. The theme is a siciliana , consisting of two 8-measure sections, each repeated, a structure shared by each variation. We see a new character of sound emerge in the right hand with a happy staccato repetition on the tonic pitch. Coda: A forte theme consisting mostly of chords arpeggiated and not and octaves. Variation IV, back in A major, features a floating melody line above the staff that begins on beat 2, almost like an afterthought or reaction to the strong beat.

All of these techniques for a simple theme help Mozart develop his idea later. The occasional dissonances that Mozart allows himself to use in this section are just about the most interesting thing in the entire movement.

It feels almost as though 6 minutes of nothing had just been listened to.

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Pairing a simple homophonic melody with simple accompaniment makes it easier to anipulate the theme in the coming variations. The melody in the right hand starts out very ornamented. This drastic dynamic change happens in the A section of the variation. Were the movement correctly barred, the position of this chord would be perfectly regular.

piano sonata no 11

In distinct contrast to the Minuet, the Trio, except for the short digression in Part II, contains but one theme, yet is this interwoven with such variety that, in Part III, actual repetition of the contents of Part I is restricted to the opening motive of that part.

In just over three minutes, Mozart captures striking character and wit that is still often remembered today, and closes the sonata with both style and substance.

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