Keyboard instruments > Piano solo

Wolfgang Amadeus Mozart

Piano Sonata F major K. 280 (189e)

Editor: Ernst Herttrich
Fingering: Hans-Martin Theopold

5.50 €

Urtext Edition, paperbound
Detailed critical commentary
(not available in the printed editions)
available free-of-charge: Download

Pages: 17 (V, 12), Size 23,5 x 31,0 cm
Order no. HN 1040 · ISMN M-2018-1040-9

Level of difficulty (Piano): medium (Level 5)

The Six Sonatas K. 279–284 were probably written around the beginning of 1775. Mozart refers to them in letters that he sent to his father from his trip to Paris (1777–79). In these letters he often refers to them as the “difficult sonatas” – probably alluding to the special interpretative demands. He thus provided these works with rich dynamic and articulative markings, advising a reserved tempo for their performance. The Sonata K. 280, which has a special place amongst the early sonatas due to ist melancholy middle movement in f minor, is now also available as a practical and reasonable single edition, which has been taken from our edition of the complete Mozart sonatas.

FIRST MOVEMENT All the movement of this second sonata are in triple meter, which was rather unusual in Mozart’s time. The first movement has the character of a lively menuet, despite the marking Allegro assai. It anticipates a certain mood of two other first movements in F major in three-four, those of the Sonatas K 332 and K 547 (the latter written originally for piano and violin). Thus key as well as metre characteristics inspired Mozart’s imagination in apparently similar ways. The first subject group of K 280/I, the eight- and sixteenth (quaver and semiquaver) – movement of the first 12 measures, contrasts especially nicely with the triplets of the following 14 measures.

SECOND MOVEMENT The second movement of this Sonata, and Adagio, is in F minor and in siciliano rhythm. It is one of the finest creations of the whole cycle. Perhaps it was written only shortly after the composition of the early G minor Symphony K 183, in which we find a similar mood reflected; but more obviously there is a certain affinity to the slow siciliano movement in the same key in Haydn’s F major Sonata Hob. XVI/23, and further similarities between the two composers’ sonatas emerge as the movement proceeds. In both pieces, the original lament of the siciliano resolves into a warm A flat major melody with a gently moving accompaniment. However, the Adagio marking classes this movement as the slower, more serious type of siciliano, an earlier model of which can be found in Bach’s harpsichord Concerto in E major. It also has an affinity with the immensely sad slow movement of the A major Concerto K 488, which is likewise marked adagio instead of andante.

THIRD MOVEMENT The finale of the Sonata, a Presto in three-eight metre, restores the joyful mood of the opening. It is Haydnesque, too, but more pianistic and longer, as well as richer in contrast than its precedent.
Paul and Eva Badura-Skoda

More information
Suggested viewing on YouTube: Karl Engel, movements 1-3

Audio example: Maria João Pires
Deutsche Grammophon 028947752004GB6

1040.mp3

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