Piano Sonata No. 2 (Mozart)

Wolfgang Amadeus Mozart's Piano Sonata No. 2 in F major, K 280 / 189e, (1774) is a piano sonata in three movements:

Piano Sonata in F major
No. 2
by W. A. Mozart
The young composer, a 1777 copy of a lost painting
KeyF major
CatalogueK. 280 / 189e
StyleClassical period
Composed1774 (1774)
MovementsThree (Allegro assai, Adagio, Presto)

Allegro assai

The first movement of the sonata is in sonata form, and consists of three themes of new material, a development, in which the themes from the exposition are varied and combined, and a recapitulation, in which the exposition is repeated and varied. The sonata begins with the first theme of the exposition, which itself begins with a forte arpeggiated chord, followed by three thirds. The theme next contains a series of falling quarter notes over block chords and Alberti bass, rapid sixteenth notes, and falling fifths. The second theme consists of legato triplets in the right hand over octaves in the left. The theme is somewhat chromatic, with frequent accidentals. The third theme is mostly quarter and eighth notes with an irregular accompaniment. The exposition ends with a C major chord. The development and recapitulation follow, varying and combining these themes before restating them, as is normal in sonata form.

Adagio

The second movement of the sonata is an adagio in F minor. It is the only piano sonata by Mozart with a slow movement in a minor key. While not marked as such, the movement is a siciliana.[1] The mood of this movement is mournful and tragic, with the opening somewhat resembling a funeral march. Estonian composer Arvo Pärt's 1992 (rev. 2005) piece Mozart's Adagio reimagined the music from this movement in a work for violin, cello and piano.[2]

Presto

The sonata ends with a presto (sonata form) in F major. It is relatively short for a presto, taking between two and three minutes to play.

A typical performance takes about 14 minutes.

The work was written down along with other piano sonatas during the visit Mozart paid to Munich for the production of La finta giardiniera from late 1774 to the beginning of the following March.

gollark: I don't think that works for the AI unless this situation is repeated somehow. It may not work at all, since you can't actually tell if it is torturing you or not, from outside it.
gollark: Oh, oops, I got the lever direction mixed up, sorry. I meant that if you left it trapped then it wouldn't have reason to torture you.
gollark: And you can verify that.
gollark: Unless it can somehow precommit to torturing the simulations.
gollark: If it values suffering for its own sake it might as well do it anyway, but I don't think doing the torturing would advance other goals.

References
  1. Badura-Skoda, Eva (2004). "Aspects of Performance Practice", in Eighteenth-Century Keyboard Music, edited by Robert L. Marshall. Routledge. pp. 41–42. ISBN 1135887764.
  2. "Archived copy". Archived from the original on 2017-06-14. Retrieved 2016-09-08.CS1 maint: archived copy as title (link)


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