After a harmonically daring development section we hear one of Mozart's most predictable recapitulations, tracing the exposition in full and resolving everything to the tonic before closing without a coda. An insistent repeated-note figure is the main feature of the secondary theme, which quickly gives way to a trilled closing motive. Almost immediately after the restatement of the four-measure theme begins, Mozart moves away from the tonic toward the dominant, F major. 281) opens with an Allegro in sonata form. In B flat major and the third of the set Mozart composed, the Piano Sonata (K. Only the D major sonata was published during Mozart's lifetime.
Mozart chose various contrasting keys for his middle movements and a wide range of expression throughout the set. The grace and charm we find in some of the first movements, especially that of the C major sonata, are reminiscent of J. Each sonata is in three movements and each differs from the others in several ways. 279-283, were composed very early in 1775, while Mozart was in Munich the Sonata in D major, K. He may have used one of his new sonatas in a keyboard contest between himself and Ignaz van Beecke (1733-1803), a contest in which Beecke was judged superior.įive of the six piano sonatas, K. Mozart worked his way around the circle of fifths, first toward the flat side, composing the sonatas in the order, C, F, B flat, E flat, then moving to the sharp side and writing those in G and D. 279-84 were apparently written as a set for which Mozart deliberately chose "easy" keys, although he referred to the works as his "difficult" sonatas. This may be because his Salzburg patrons were not interested in solo keyboard compositions. He had written sets of variations, but nothing in the sonata style. It is remarkable that Mozart, who had made his reputation as a keyboard virtuoso, waited years to compose sonatas.
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