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Mozart - Sonata K331 In A Major

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DanelePiano

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Opening post by DanelePiano

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I am studying Mozart's Sonata K. 331 in A major (with the Rondo alla Turca finale)... is there anyone who can give me some sort of listening guide to this splendid sonata to understand it better??

Thanks a million

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Reply 3 by diapasuono

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Listening guide? There are a thousand versions of the 331 which, among other things, is a very particular sonata full of variations. Personally, I love Arrau's version very much, but Larocha's are also beautiful, and Gould's highly personal approach shouldn't be dismissed either, as he, as usual, disrupts timing and more (among other things, in the first initial theme, he maintains a pulse that is quite moving). You can find all the versions you want easily on YouTube. Happy listening! And in my opinion, it's a beautiful sonata from which one learns a lot.

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Reply 4 by DanelePiano

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@frank....of course I've wondered about it and I still wonder about it

I've already heard Gould's version, which is truly very original... the one I prefer is Ciccolini's

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Reply 5 by Frank

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Let's agree on the definition of listening guide ๐Ÿ˜‰

Along with the K545 and the K570, these are sonatas that belong to the last decade of Mozart's life, spent in Vienna in his dual role as pianist/composer.

In fact, during this period, piano compositions abound that aim to meet the taste of the public, particularly the K331 (published in 1784, among other things).

The interesting thing is that this sonata deviates from the classical model (sonata form, slow tempo, and rondo) and takes inspiration from the suite.

The Andante grazioso is a theme with 6 variations, then there is a dance movement (Minuet with trio); the crossover between hands and the opposition of registers are interesting, and finally Alla Turca, where Mozart refers to the "turquerie" fashion, which originated in France and penetrated the Austrian world (see also "The Abduction from the Seraglio").

The use of devices such as acciaccaturas, minor scales in the melody, arpeggios, and the insistence of figurations in the accompaniment attribute that "exotic" flavor that guaranteed the sonata circulation even outside the "official" environments of art music.

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Reply 6 by diapasuono

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Great Frank! Well said! In fact, it is always very useful and supportive to the performance itself of a work to understand the historical-sociological reasons where the work itself takes root. Thank you.

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