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Thoughts on learning Mozart Sonata No. 12 in F, K. 332 (first movement)

After my review of Wolfgang Amadeus Mozart’s “Drawing Room” Sonata K. 545 in C, Allegro, I discovered by comparison that the opening movement of K. 332 in F Major, had a more complex mosaic. In the short space of its nearly three page exposition, K. 332’s multiple themes weave through markedly contrasting sections. *A Sturm und Drang, or “storm and stress” impassioned set of “minor mode” measures, for instance intersperses more lighthearted “Major” phrases. Perhaps Mozart’s shifts of mood/emotion and dynamics early on in the Exposition, foreshadowed what the composer later expressed with rich development and poignance in his last Symphonies 39, 40 and 41.

*Music History – Sturm und Drang Movement
from: http://www.digital-daydreams.com

“During this period, a new literary and artistic movement called “Sturm und Drang” (meaning storm and stress) had an impact on music. It soon became fashionable to write music that was slightly turbulent and hinted at emotional depths which reflected the political upheaval and cultural transformation which was occurring at this period in time. The name came from a 1777 play by Klinger and music which represented this style included Gluck’s opera “Orfeo ed Euridice” and some of Mozart’s operas.” (I would add Mozart Symphonies and Sonatas where applied)

More About Sonata in F, K. 332 (WIKI)

“The Piano Sonata No. 12 in F major by Wolfgang Amadeus Mozart, K. 332/300k, was written at the same time as the Piano Sonata, K. 330 and Piano Sonata, K. 331 (Alla turca), Mozart numbering them as a set from one to three. They were once believed to have been written in the late 1770s in Paris, but it is now thought more likely that they date from 1783, by which time Mozart had moved to Vienna.[1] Some believe, however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold. All three sonatas were published in Vienna in 1784.”

***

As a relative newbie to K. 332, I conjecture that my early, baby-step learning process might assist others in their respective musical journeys, so I’ve attached a short tutorial.

Mozart Sonata in F K. 332 revised

Mozart Sonata in F K. 332 p. 2

Mozart Sonata in F K. 332 p. 3

19 thoughts on “Thoughts on learning Mozart Sonata No. 12 in F, K. 332 (first movement)”

  1. Hello, I really enjoyed this video. I am working on this sonata at the moment. Do you have any advice on the trills in bars 86, 87 etc to the end of the section. I have tried all variations starting on the note, above the note, 4 notes, 6 notes, turns etc. I loved the way you played them but it’s so fast and I can’t see/hear exactly what is happening. Thanks so much again.

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      1. Hello, i really enjoyed your video and explanation. I’m also having the same doubt about the trills that Tracey mentioned in this comment. I looked for tutorials or something like that in the videos you have in your channel and i couldn’t find any video explaining that trills in particular. I found some about the Adagio’s trills.
        I would appreciate if you have an advice about this. Thank you, very much.

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      2. So yes I now see the trills you are talking about.. these are rapid upper neighbor trills followed by 32note resolutions in the RH, that I will try to make a video about later today. Stay tuned. I will probably add the video to a new blog on trills, adding in the others I have made for various compositions..

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  2. My Mother had this whole piece practiced to perfection. She never could hear herself play and only heard what she thought were mistakes. While growing up she would practice for hours each morning (in particular) and in the Summer months, as a tweeny, I would just lay in bed and listen to her practice. She was under the wing of Albert Bowen and he was being taught (mentored) by Horowitz. It was a spectacular time in the 1970’s with Classical Piano still being taught to the masses. I appreciate your dissertation above and as I inherited all of her music books, learned something about the storm and stress – which playing this piece – is an understatement!

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