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    Mozart Sonata 7 John

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    Mozart composed his Piano Sonata No. 7 in C major, K. 284b in Mannheim in 1777 while on a trip with his mother. He gave lessons to students to earn money, including to Rosa Cannabich, for whom he composed this sonata. The sonata shows influences of the Mannheim style through its sharp contrasts. Mozart later said he depicted Rosa in the Andante movement. The work grows Mozart's compositional skills by incorporating ideas from Mannheim composers and Haydn.

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    Mozart Sonata 7 John

    Uploaded by

    Guada
    114 views1 page
    Mozart composed his Piano Sonata No. 7 in C major, K. 284b in Mannheim in 1777 while on a trip with his mother. He gave lessons to students to earn money, including to Rosa Cannabich, for whom he composed this sonata. The sonata shows influences of the Mannheim style through its sharp contrasts. Mozart later said he depicted Rosa in the Andante movement. The work grows Mozart's compositional skills by incorporating ideas from Mannheim composers and Haydn.

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    Mozart Sonata 7 Joh

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    Mozart composed his Piano Sonata No. 7 in C major, K. 284b in Mannheim in 1777 while on a trip with his mother. He gave lessons to students to earn money, including to Rosa Cannabich, for whom he composed this sonata. The sonata shows influences of the Mannheim style through its sharp contrasts. Mozart later said he depicted Rosa in the Andante movement. The work grows Mozart's compositional skills by incorporating ideas from Mannheim composers and Haydn.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    114 views1 page

    Mozart Sonata 7 John

    Uploaded by

    Guada
    Mozart composed his Piano Sonata No. 7 in C major, K. 284b in Mannheim in 1777 while on a trip with his mother. He gave lessons to students to earn money, including to Rosa Cannabich, for whom he composed this sonata. The sonata shows influences of the Mannheim style through its sharp contrasts. Mozart later said he depicted Rosa in the Andante movement. The work grows Mozart's compositional skills by incorporating ideas from Mannheim composers and Haydn.

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    Description by John Palmer [-]

    Mozart's Piano Sonata No. 7 in C major, K. 284b (K. 309), was composed in
    Mannheim in October and November of 1777, while he and his mother were on a
    lengthy trip that would take them to Paris the next spring. Tragically and
    unexpectedly, Mozart's mother would die there on July 3, 1778.

    While Mozart was in Mannheim, he earned room, board, and cash by giving lessons to
    numerous students. One of these, Rosa Cannabich, was the daughter of Johann
    Christian Cannabich (1731-98), leader of the famous Mannheim court orchestra. For
    her, Mozart composed the Piano Sonata No. 7 in C major. Mozart later explained that
    he had "depicted" the girl in the Andante of the sonata -- the only known instance in
    which Mozart attempted to portray a real person in music.

    Aspects of the Mannheim style are evident in the work, particularly in its sharp dynamic
    contrasts. Both Mozart's sister and father noticed these traits, his father writing, "It has
    something of the mannered Mannheim style about it, but so little that your own good
    style is not spoilt." Mozart composed another piano sonata while in Mannheim, No. 9 in
    D major, (K. 311) possibly for performances in Paris. In these sonatas we find Mozart's
    powers of expression growing, assimilating not only characteristics of works by
    Mannheim composers but many of the ideas of Haydn, apparent in his use of sonata
    form in both first and second movements. Also, some of Mozart's writing for the
    keyboard is in an orchestral style, removed from the typical keyboard technique of the
    day.

    In the first twenty measures of the Allegro, Mozart elides asymmetrical phrases in such
    a way that the whole seems perfectly balanced. The beat on which the first phrase
    ends is also the beat on which the repeat of the phrase begins. A new seven-measure
    idea closes the first group of themes before the transition begins. The development
    focuses on individual measures from the first phrases, passing through numerous
    harmonies. Some development occurs in the recapitulation, which is otherwise
    predictable in its resolution of the secondary theme to the tonic.

    The F major Andante resembles the description of Rosa Cannabich Mozart gave to his
    father: serious, predictable and somewhat boring. This, however, does not prevent the
    movement from being sentimental, and the numerous contrasts between forte and
    piano dynamic markings breathe excitement into a languid movement. A combination
    of rondo and variation procedures, the movement alternates the opening theme with a
    single episode, on the dominant (C major). The main theme is ornamentally varied at
    each appearance, as is the episode at its second and final sounding, which leads to the
    most embellished version of the main theme in the movement.

    The C major Rondo opens with a two-part theme in which both halves are the same,
    except for an additional ornament in the second half and a slight reharmonization of a
    single measure. The movement as a whole incorporates aspects of sonata form. The
    primary episode is lengthy, modulates to the dominant, and features rapid triplet
    figurations that increase the forward motion. When the rondo theme returns, we hear
    the first half in the original form but the second half varied, after which material from the
    end of the episode appears, but on the tonic. In the ensuing measures, other ideas
    from the episode become resolved to the tonic before the final return of the rondo
    theme. Elements of the main theme make up the very closing moments of the coda.

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