Keyboard instruments > Piano solo

Wolfgang Amadeus Mozart

Piano Sonata C major K. 330 (300h)

Editor: Ernst Herttrich
Fingering: Hans-Martin Theopold

8.95 $

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

Pages: 19 (V, 14), Size 23,5 x 31,0 cm
Order no. HN 602 · ISMN 979-0-2018-0602-0

Level of difficulty (Piano): medium (Level 6)

Whoever has experienced a major pianist performing this sonata live (the slow “Andante cantabile” middle movement is occasionally played as an encore) knows the grandeur and effect of this C major work, which is only apparently modest in scope. It appeared in print during the summer of 1784, along with the famous sonata in A major (“alla turca”) K. 331 and the lyrical, technically quite challenging sonata in F major K. 332. The three sonatas were probably composed only shortly before printing, countering the assumption of earlier Mozart scholars. This first edition is editorially significant because numerous details deviate so markedly from Mozart’s manuscript that they could only have come from their creator himself. In the C major sonata K. 330 this particularly applies to the slow movement, the final bars of which, with their doleful farewell, are not to be found in the autograph.

*****

FIRST MOVEMENT This Sonata is in many respects a total contrast to the preceding work, with no trace of melancholy except for the sadness expressed in the middle section of the Andante. The first movement is exuberantly gay.

SECOND MOVEMENT It is followed by an intimate Andante cantabile movement with a beautifully expressive minor episode and some fine contrapuntal part-writing in the episode’s A flat section. The numerous phrase marks and the careful dynamic indications testify to Mozart’s own fondness of his Sonata. By the way, the last four measures of this middle movement are not in the autograph – Mozart added them when the Sonata was given to the engraver. What a blissful afterthought!
THIRD MOVEMENT This Andante is followed by a cheerful, sturdy final movement in sonata form marked Allegretto. Its development starts with a new folk-like theme under which one could easily put the joking text from a Viennese folksong: “Unsre Katz hat Junge kriegt…”

Paul and Eva Badura-Skoda

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