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Exploring Mozart Sonata No. 5 in G, K. 283 (First movement, Allegro)

The learning exchange between student and teacher is heightened when a new piece is introduced. In the case of Mozart’s charming, early period Sonata no. 5 in G, it became a revisit for me that brought new revelations that I shared during the course of weekly lessons.


Mozart presents a challenge in capturing a singing tone that is emblematic of the opera. (From Wiki: “The work was written down during the visit Mozart paid to Munich for the production of his La finta giardiniera from late 1774 to the beginning of the following March.”)

At least when playing the opening allegro of K.283, even the Forte-pianos (f-ps), that might suggest more abrupt and decisive accents in Beethoven’s mid-period sonatas, are far more elegantly played in Mozart’s early sonata vocabulary so one should be able to sing them.

Bass notes in a parallel octave progression moving in an intensifying fashion seem to be yielding to those doubled in the treble, lest they sound too ponderous for the period. Therefore, one must respect a fine line of sensitivity in their execution.

Pianist, Murray Perahia speaks of the singing pulse in Mozart works, and I must agree. He states that a rubato lives within the composer’s music but not necessarily taken with such liberty as would apply to Chopin and the Romantics.

Finally, in my tutorial, I try to apply educated instincts and intuition to my exploration of the opening Allegro, K.283, with a focus on the singing tone, phrasing, harmonic rhythm and form.

The Exposition is naturally a springboard for my analysis of the whole movement that weaves in motivic and harmonic tie-ins.

Mozart Sonata K283 p. 1 Allegro 1

Mozart Sonata K283 p. 2 Allegro

Play Through:


From Wiki

“Piano Sonata No. 5 (Mozart)

“Wolfgang Amadeus Mozart’s Piano Sonata No. 5 in G major, K 283 (189h) (1774) is a piano sonata in three movements:


“This sonata is part of the earliest group of sonatas that Mozart published in the mid-1770s. The first movement is a sonata-allegro movement that is concise, with an economy of materials. The development section is a mere 18 measures long. The shorter length and moderate technical demands make it an ideal piece for early-advanced study and performance.

“A typical performance takes twelve to eighteen (Richter) minutes.”

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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

“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

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Piano Lesson: Mozart Rondo, Allegretto- Sonata K. 545 with a pedal pushback to Andante

Each teaching encounter brings a new awakening.

A composition that’s been practiced to death, taught times over, recorded, retired and reviewed, can still experience a rebirth when a student embarks upon his/her individual musical journey.

It’s like a parent (mentor) reliving one’s own childhood by having children.

On Skype today, a pupil who had conscientiously practiced movements 1 and 2 of Mozart’s Sonata K. 545, took her maiden voyage through the first page of the Rondo: Allegretto with a bundle of probing questions that made both of us ponder structure, phrasing, harmonic rhythm, and performance practice. By measure the movement was rediscovered.

Mozart Rondo Allegretto p 1

Play Through:

An earlier part of our journey included a HIKING BOOT exploration of pedaling: Andante

Play Through:

Disclaimer: Pedaling choices are not set in stone.

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Mozart at dusk and daybreak (evading the wrath of neighbors)

soundwaves 2

I hadn’t realized I violated curfew as I recorded the first half of Mozart’s G Major Sonata, K. 283 (Presto) on Mac21 last night starting at dusk. Here in my Berkeley apartment complex, washing machines, dryers, and all music must cease at 10 p.m. meaning my video/audio track had ostensibly gone down the drain in my overtime spin– (Part A was memorialized as my iMovie “Project”) but I hadn’t the know-how to merge an incubating Part B the next DAY to finish the job. (At all costs I’d wanted to avoid a beer-bottle disposing neighbor who could put the kibosh on any further recording efforts this weekend.) He’d been known to trash more than one Bach Little Prelude in progress.

Still, embracing a shred of optimism, I headed for hoping to dig myself out of a despairing ditch. My Search Terms, “MERGING projects on iMovie” might lead to W.A.’s resurrection.

The Angels must have sprinkled fairy dust over my domain, because I found five other sobbing souls looking for the second coming. (That is, how to tag on part B)

The answer to our common project-related problem was as clear as day. “Select All, and paste the rest of the movement (when recorded) to what took place BEFORE.”

So true to every Chosen Word, I followed the Google-derived Gospel and completed my Project when the sun was comfortably shining at 10 a.m.

With an ear and eye to the latest technology, I stitched together this rendering, that had its original formatting as a spreadsheet.

Mozart Sonata in G Presto spread out on piano

Mozart Presto, K. 283