Keyboard instruments > Piano solo

Wolfgang Amadeus Mozart

Piano Sonata F major K. 332 (300k)

Editor: Ernst Herttrich
Fingering: Hans-Martin Theopold

9.00 €

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

Pages: 25 (V, 20), Size 23,5 x 31,0 cm
Order no. HN 178 · ISMN 979-0-2018-0178-0

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

The three piano sonatas K. 330–332 were probably written in Vienna or Salzburg in summer 1783, thus many years later than previous Mozart scholarship had assumed. This F-major sonata K. 332 was published in Vienna the following year, 1784, together with its two “sisters” K. 330 and 331. Textual differences between the first printed edition and the autograph are so severe that the editor of this Henle Urtext edition has chosen to adopt both the richer dynamic markings of the latter (presented in small print) and the more sumptuous ornamentation from the first edition of the slow movement (in the main text; the plainer autograph version is offered there as an “ossia”). One of Mozart’s technically more challenging sonatas, especially in the finale.


FIRST MOVEMENT The Sonata in F major has a first movement in three-four meter, like K 280 in the same key. The cantabile opening measures are followed by an unusually long answering phrase containing a wealth of melodic ideas, many of which are reminiscent of Haydn (m. 13 ff.). This movement is not a text-book example of sonata form, though the main characteristics – the threefold division into exposition, development and recapitulation, as well as the broad outlines of the key scheme – are present. However, there is a stormy passage in D minor and a modulation to C minor before the entry of the second subject in the regular key of C major. There are also many other details which demonstrate Mozart’s freedom in handling the sonata form, such as the hemiola rhythm in measures 64 65 and the new thematic material introduced at the beginning of the development.

SECOND MOVEMENT The Adagio movement in B-flat major displays Mozart’s skill in varying repeats, and typifies his practice of enriching the ornamentation when preparing a composition for publication. Embellishments, previously probably “improvised”, now became standard when the work was published with the written-out enriched ornamentation.

THIRD MOVEMENT The last movement is a rollicking virtuoso Allegro assai movement in six-eight meter, making higher technical demands on the performer than most of Beethoven’s sonatas. It proves that Mozart must have been the best pianist of his time.
Paul and Eva Badura-Skoda

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