  Mozart - Piano Sonata G Major K 283$12.95 - See more - Buy online Lead time before shipment : 4 to 6 weeks Piano
SKU: HU.HN601
Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Piano Solo, Piano and Keyboard, Repertoire, Solos. Piano Sonata G major K. 283 (189h). Classical. Softcover Book. 19 pages. G. Henle #HN601. Published by G. Henle (HU.HN601). Instrumentation : Piano soloPublisher : G. Henle
An authoritative Urtext edition of the Piano Sonata G major K.283 by Mozart. Edited by Ernst Herttrich with fingering by Hans-Martin Theopold. FIRST MOVEMENT The fifth sonata K 283 (189h), in the pastoral and joyous key of G major, is especially popular; it again displays novel ideas, musically and pianistically. The diversity of its melodic invention is highly typical of Mozart, and so is the clear-cut sonata form of the first movement. The very first idea is a marvel of folkmusic-like invention. The opening theme and its continuation is an interplay of question and answer with the final response in baroque hemiola rhythm (a sudden 3/2 meter interpolated in a 3/4 movement). The ornamented unison passage which follows (mm. 16-22) is superbly written and sounds especially brilliant and full-bodied on the pianos of Mozarts time. This tutti effect was one of his favourites, and he also used it in later works, such as the Variation on a Theme by Gluck K 455 the Piano Concerto K 456/I and the cadenza of the Piano Concerto in G major K 453/I. SECOND MOVEMENT The Andante in C major is unpretentious, but with the help of subtle shading in performance, the repeated notes of the theme can become really effective. Unlike the first movement, which in place of a new development section simply presents a new idea followed by an extended transition to the recapitulation, the second movement contains a true development in the 19th century textbook sense, presenting the subject first in the right hand (in D minor and C major) and then in the lower register and so no. THIRD MOVEMENT A scintillating virtuoso Presto concludes this Sonata. At the very end, there is a typical Mozartian joke: he wrote the word Coda into the score; but instead of the expected elaborate epilogue, this tail consists of only two concluding chords.
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