Mozart, Piano Sonata in B-flat Major, K. 333, Second Movement

(score) Andante cantabile

Sonata-allegro form, E-flat major (Subdominant key of whole sonata)

Exposition

 

Theme 1a (m. 1)

Theme 1b (m. 8)

leads to half cadence

Theme 2 (m. 14)- key of B-flat (V)

Closing Theme (m. 21)- key of B-flat (V)

Codetta (mm. 29 - 31)- key of B-flat (V)
[Exposition is repeated]

Development

Part 1 (mm. 32 - 35)- Link based on chromatic version of Theme 1a

Part 2 (mm. 36 - 43) development of motive x (rhythm only)

modulates from f minor to A-flat major

Part 3 (mm. 44 - 48)- Theme 1b

starts in A-flat major, then tonally vague

Part 4 (mm. 49 - 50)- Retransition

Recapitulation

Ornamented version of Theme 1a (m. 51)- key of E-flat (I)

Theme 1b, ornamented (m. 58)

leads to half cadence

Theme 2 (m. 64)- key of E-flat (I)

Closing Theme (m. 71)- key of E-flat (I)

Codetta (mm. 79 - 82)- key of E-flat (I)

In the sonatas of the Classical Period, the second movement typically provides contrast in key and tempo. The second movement of Mozart's Sonata in B-flat major, Kv. 333, is set in the subdominant key of E-flat major, and the tempo indicated is andante cantabile. While in sonata-allegro form, the plan of the movement is more simple than what might be expected in the first movement of a Classical period sonata.

Theme 1a, harmonized in thirds, descends gently from scale degree five to a half-cadence on the leading-tone. An ornate figure leads to the second phrase, which arches a little higher, eventually descending to the tonic in an authentic cadence. Elided with this cadence, a rocking figure in the left hand signals the beginning of Theme 1b, which features a repetitive rhythmic motive (labelled "x"). This leads to what appears to be a half cadence, although instead of continuing back in the tonic key of E-flat, the next phrase begins in the dominant key of B-flat. We realize mostly in retrospect that Theme 1b serves as a Bridge despite the fact that it doesn't decisively modulate.

The music following the half cadence is Theme 2. The melodic arch of this theme is like a mirror image of Theme 1a. It also uses motive "x", both in the melody and as a link between phrases in the bass. The relationship of this motive with that heard in Theme 1b is reinforced by the fact that Mozart always marks the three eighth-notes with the same pianistic articulation: staccato dots with a slur.

After two phrases, a more agitated accompaniment is heard in the left hand (m. 21), over which appears the Closing Theme. It also begins with motive "x," although this time, an inner voice is perhaps more interesting, since it anticipates the rise at the end of the next measure:

The Closing Theme is rhythmically the most active, with several groups of thirty-second notes to enliven it, and its two phrases end in imperfect and perfect authentic cadences, respectively. A short Codetta (mm. 29 - 31) extends the final cadence in the dominant key without introducing any significant new material.

The last three notes of the Exposition, lead, via repeat sign, back to the beginning (and the key of E-flat). However, after repeating the exposition, these same notes lead to the surprising beginning of the Development section (m. 32):

The chromaticism here contrasts sharply with the mostly diatonic nature of the Exposition. It also creates a strong argument for observing Mozart's repeat sign, because the shock of the first chord of the Development would be lessened without first going back to the beginning of the Exposition.

This chromatically twisted version of Theme 1 makes up Part 1 of the Development; it mostly serves as a link to Part 2, which develops motive "x." The motive appears in a chromatically rising bass line, leading to the preparation of A-flat major as the anticipated key. Part 3 (mm. 43 - 48) brings back Theme 1b with its original accompaniment, but is still unclear as to key, suggesting (without the affirmation of cadences) the keys of A-flat major, f minor, D-flat major, and d-flat minor, all in the space of five measures. Finally, a B-flat dominant seventh chord is reached, signalling the beginning of a retransition to the Recapitulation (Part 4). The chord is repeated (using the rhythm of motive "x"), launching the right-hand melody into a gentle descent back to Theme 1.

The version of Theme 1a heard at the beginning of the Recapitulation is highly ornamented (pitches added to original melody are circled in the example below):

The tendency to ornament is carried to other themes in the Recapitulation as well. Theme 1b leads to the same half-cadence as in the Exposition, but this time Theme 2 and the Closing Theme follow in the tonic key. Following the Codetta, there is an indication to repeat the whole Development-Recapitulation section. After the repetition, a simple strong-weak cadence over a tonic pedal-point concludes the movement.

The lack of a formal Bridge section and the rather brief Development distinguish this movement from the more complex forms typically seen in the first movements of sonatas. Mozart's aim here seems to be more to create beautiful, singing melodies with the slower tempo providing opportunities to enhance and ornament these melodies. It is interesting to note the degree to which motive "x" pervades the work.