This means first of all that the playing usually based on the weight of the arm and of the hand must be replaced, on a pianoforte, by a delicately articulated, purely digital playing. Account en lijsten Retourzendingen en bestellingen. 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. The third movement, a Rondo, is perhaps the most child-like movement, and the innocently graceful G major Andante is based on a resourceful use of Alberti patterns. The wealth of melodic and thematic inventions here and in the rest of the Sonata is simply staggering. Having been kept in a mansion ever since it was built (ca. The recapitulation brings a further surprise by turning towards remote minor keys and adding another short contrapuntal development of the opening theme. FIRST MOVEMENT   Remarkably, this sonata opens with a slow movement like the A major Sonata K. 331. If I want to show my love to a dear person, I sit down at the piano and play for her a piece of Mozart”. Suggested viewing on YouTube: Clara Haskil, 2nd movement. Copyright © 2013 John Wakelin. No-one who has heard him speak about music with warmth and perception in his soft Viennese voice, can ever forget it.In 1949 Wilhelm Furtwängler and Herbert von Karajan became aware of Badura-Skoda's outstanding talent. The Staatliche Hochschule für Musik und Darstellende Kunst Mannheim and the Pontificia Universidad Católica del Perú honoured him with the title Doctor Honoris Causa.Website of Paul Badura-Skoda. In the first movement, the opening unison statement and its answer – like the themes of the K. 491 Piano Concerto and the K. 475 Fantasy – lead us to a profoundity which language is powerless to fathom. It far surpasses those in Haydn’s and C.P.E. The group of the first six sonatas preserved were presumably composed in Munich from January to March 1775. Madame von Trattner (1758 1796) was a pupil of Mozart and the wife of Mozart’s wealthy and influential landlord. Many of Mozart’s works in B flat major, among them are the Concerto K. 595 and this Piano Sonata K. 570, are characterized by gentle, sometimes somber resignation. SECOND MOVEMENT   The A major Adagio movement is in a straightforward ternary form with a middle section of sweet melancholy in the relative minor. But while 18 sonatas on five discs is hardly enough considering how sublime the music is, at least there are 18 sonatas on five discs' worth of superbly performed music. It is no accident that the end of the variation theme is repeated note by note at the end of the minuet, that the crossing of hands in the trio of the minuet is anticipated in variation IV, that the key of the finale (A minor) is prefigured in variation III, and that the ritornello of this famous Turkish march finale in A major is alluded to in measures 5 and 6 of the allegro variation. A true treasure trove of interesting and exciting facts about Mozart’s piano sonatas! Two Rondos, a Fantasia, and a decidedly quirky Gigue complete a delight of a double album. This tutti effect was one of his favourites, and he also used it in later works, such as the Variation on a Theme by Gluck K. 455 the Piano Concerto K. 456/I and the cadenza of the Piano Concerto in G major K. 453/I. It affords a point of repose; but despite Mozart’s extension of the rondo form by a contrapuntal cadenza-like section, and despite a wonderful episode in F minor, this piece lacks the tension which distinguished the previous movements, particularly the second. One can approach the mystery of Mozart only with the help of metaphors. THIRD MOVEMENT   The second subject of the brilliant final movement, which opens the development, happens to be rhythmically identical with the finale motif of Haydn’s F major Sonata Hob. Mozart called his Sonata K 545 “Eine kleine Klavier-Sonate für Anfänger” (A little clavier sonata for beginners) when he entered the theme in the catalogue of his works on June 26, 1788. Allegro assai ♪ Piano Sonata No. The movement has no well-defined contrasting theme, but approaches the monothematicism of many Haydn sonatas. The theme of the rondo is binary, the second part being a varied repeat in the sense of the C.P.E. One thing has remained with him from his early professional interests - the desire to 'look behind the scenes', to understand the functioning and the impact of great musical works and, in playing them, to make the perception accessible to others. 16-22) is superbly written and sounds especially brilliant and full-bodied on the pianos of Mozart’s time. Such folk or popular elements are relatively rare in Mozart, but this Movement is the exception, akin to the minuets of Beethoven’s Septet, op. Eva Badura-Skoda and Paul Badura-Skoda, Interpreting Mozart. Here Mozart anticipated the “Turkish pedal”, an inbuilt percussion stop frequently found in Viennese pianos after 1800. 5.0 out of 5 stars Mozart Piano Sonatas Vol.2. The insertion of a full-scale cadenza (m. 171) into a piano sonata movement is most striking, and this powerful one is only rivaled in Mozart’s Concertos. Mozart Piano Sonata by Claudio Arrau. He was meticulous in providing it with plenty of articulation signs and dynamic marks. That leads one to think that Mozart's piano sonatas may not represent his best compositions, and it may leave you wanting to try something else. It is no wonder, then, that the virtuoso brilliance on which his success in his subscription concerts depended can be detected in his later compositions. He is 76, and is back to the piano after a nearly 50 year hiatus. Originally Paul Badura-Skoda wanted to become an engineer, but luckily he changed his mind. Comes in a thin cardboard slipcase with booklet and two fatbox jewel cases with … However, the Adagio marking classes this movement as the slower, more serious type of siciliano, an earlier model of which can be found in Bach’s harpsichord Concerto in E major. THIRD MOVEMENT   This Andante is followed by a cheerful, sturdy final movement in sonata form marked Allegretto. Bach’s use of the term. FIRST MOVEMENT   The first movement opens rather conventionally; however, it then builds up a tension in the development from the simplest raw material. 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. He muddled over the offerings on Amazon, but did not decide on any edition. THIRD MOVEMENT   The rondo finale is more contrapuntually conceived than a superficial impression would suggest. THIRD MOVEMENT   The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. Suggested viewing on YouTube: Walter Gieseking, movements 1–3. The ornamented unison passage which follows (mm. 19 in F major, K. 547a (1799; posthumous; actually a composition by Breitkopf and Hartel but is a group of movements culled from Mozart… It illuminates Mozart’s ideas on ornamentation in general and in particular. SECOND MOVEMENT   The Andante in C major is unpretentious, but with the help of subtle shading in performance, the repeated notes of the theme can become really effective. This A minor Sonata suddenly opens a new world. 457: Allegro molto 13 in B-Flat Major, KV. I was converted to the Mozart piano in 1948, after a series of private concerts at which the remarkable Isolde Ahlgrimm played Mozart’s Piano Sonatas on a Walter pianoforte. A scholarship for Edwin Fischer's master classes in Lucerne was the prize, and also the starting point of the maestro's friendship, which laid the foundation for Badura-Skoda's artistic future. by Paul and Eva Badura-Skoda(useful links added by G. Henle Verlag). It was this Sonata of which he said that it sounded incomparable on Stein’s new fortepianos. XVI/20), this is the first truly monumental work in the sonata repertory, designed for acoustics more spacious than those of drawing rooms. It expresses resignation but without bitterness: a sublimated farewell, music free from earthly trammels. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. Composed in Vienna 1785Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Edwin Fischer. Discounting Haydn’s quite different C minor Sonata (Hob. Suggested viewing on YouTube: Samuel Feinberg, Satz 1. Thus key as well as metre characteristics inspired Mozart’s imagination in apparently similar ways. He goes on extensive concert tours on all continents, plays with leading orchestras and can be found in the recording studios of the celebrated record companies. While the music easily could have fit on five discs, you still get six for the price of three. Receive the latest information about Urtext every other month. Mozart’s music achieves greatness through the conquest of personal tragedy by inner order and discipline, and on this level he is Beethoven’s peer. I have listened to it while working at home as background and my son in particular has found it helps him greatly in the creation of fantastic sandwiches, particularly Piano … Indeed, Badura-Skoda does not agree with narrow specialization. 12 F Major, KV 332 (300k): 2. Suggested viewing on YouTube: Vadim Chaimovich, movements 1–3, FIRST MOVEMENT   B flat major, the key of the third sonata in the cycle, seems to have been Mozart’s favourite key for piano music, since he used it for three sonatas and no fewer than four concertos and six piano and violin sonatas. Meanwhile he was writing and performing piano concertos – five in quick succession in 1783/84 (K. 449, 450, 451, 453 and 456) – for his subscription concerts in Vienna, which at first were very successful. FIRST MOVEMENT   The first movement is marked “Allegro maestoso”, and the opening theme is indeed truly majestic: its dotted rhythms were formerly understood to imply majesty. At the outset, the theme of the first movement introduces a charming dualism between sixteenth triplets and 32nd notes. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. Instead it starts with a series of four different motifs, in a way reminiscent of baroque techniques. The first movement has the character of a lively menuet, despite the marking Allegro assai. The benefits at a glance: In the following, you can find facts and information on each of the 18 masterpieces that we have put together especially for you: In addition, all of this is rounded off with observations on the significance of the sonata and historical keyboard instruments. The chromatic steps around the fifth (F sharp, G, A flat) convey a sense of impeding doom, as they do in the main subject of the Concerto’s first movement. The texture is orchestral in its fullness, and the relentless pulsing of the accompanying chords suggest majesty of a demonic and sinister kind. The conductors Wilhelm Furtwängler, Joseph Krips, Karl Böhm, Hans Knappertsbusch, Hermann Scherchen, Artur Rodzinsky, Lorin Maazel, Georg Szell, Sir Charles Mackerras, Sir Georg Solti and the violinist David Oistrakh have been among his famous partners. Hubby plays the piano, and wanted some Mozart sonatas. Piano Sonatas by Wolfgang Amadeus Mozart; Piano Sonata No.1 in C major, K.279/189d; Piano Sonata No.2 in F major, K.280/189e; Piano Sonata No.3 in B-flat major, K.281/189f Suggested viewing on YouTube: Daniel Barenboim, Satz 1–3. But the tragedy in Mozart’s Sonata will not be stemmed by this Adagio. However, the C minor Sonata offers more than this: a shattering expression of personal anguish, and a new language altogether which set this Sonata at the beginning of an epoch. What to our ear sounds typically Mozart is in reality an adaption from Haydn’s Theme and Variations in the same key, Hob. He loves it, and has already begun to play from it. Einstein may well have been right in assuming that the Sonata was written under the weight of Mozart’s grief at his mother’s death in Paris. This establishes that they were written after Mozart had emancipated himself from his father and the Salzburg Court. In such cycles, composers were urged by publishers to start with an easier sonata and to finish with a brilliant one. Piano Sonatas Vol. They were composed in his mature years between 1773/74 and 1789. The first movement opens with a cantabile theme which no one else could have written. The Fantasy seems freely constructed, but is in fact most tightly knot. The first movement with its ornate figuration does not yet attain the melodic richness of the following sonatas; the structure is transparent and, after an extended development section, its main surprise is a different order of subjects in the recapitulation. Composed presumably 1783 Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Ingrid Haebler, movements 1–3. The first subject is a distinctive, marcato opening followed by a five-bar response. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. For her age she is sensible and level-headed; she is serious, and doesn’t talk too much, though what she says is pleasing and sympathetic”. But no formal description can do justice to the poetical depth of this movement. It proves that Mozart must have been the best pianist of his time. Inspite of its small dimensions, this movement shows Mozart at his best – expressive, exquisite. 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. The opening theme and its continuation is an interplay of question and answer with the final response in baroque hemiola rhythm (a sudden 3/2 meter interpolated in a 3/4 movement). These three sonatas are almost more consistent, more classical than the earlier Sonatas. Melody and harmony are practically identical, only the rhythm is different. However, no proof for this assumption is extant. Allegro assai ♫ Piano Sonata No. The musical personality of Badura-Skoda is characterized by complete immersion in music, a passionate search for the essential, and a sense of artistic responsibility, but not in a technical or academic sense. The first movement is exuberantly gay. SECOND MOVEMENT   In contrast to this slow movement, the next one is a lively minuet with a relatively long trio section (labeled Menuett II), which clearly draws on Austrian dance traditions. Again and again he devotes precious time and enthusiasm to the strenuous office of jury member in important piano contests and advises young artists. It begins with an intimate and elegant theme and variations movement marked Andante grazioso. The second episode in B minor has the character of a development section, crowned by a small written-out cadenza. FIRST MOVEMENT   This Sonata is in many respects a total contrast to the preceding work, with no trace of melancholy except for the sadness expressed in the middle section of the Andante. FIRST MOVEMENT   The fifth sonata K. 283 (189h), in the pastoral and joyous key of G major, is especially popular; it again displays novel ideas, musically and pianistically. All three movements are in sonata form. Not only does he play music, he also reflects on it, producing numerous cadenzas to Mozart concerti and style-sensitive completions of unfinished works by Mozart and Schubert (G. Henle Verlag). Over his short life, he composed 18 numbered piano sonatas, sonatas for four hands, 36 violin sonatas, and 17 Church Sonatas, as well as trio sonatas for chamber instruments. 76 aanbiedingen in oktober - Koop en verkoop mozart piano sonatas eenvoudig op Marktplaats Lokale aanbiedingen - Ga ervoor! Although written when Mozart was at the peak of his worldly success in Vienna, in 1784, it is tragic to the core. He made a spectacular debut at the Salzburg Festival; and at his first concert in New York in 1953 the hall was quickly sold out, something that hardly anyone before him had experienced. 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.). I was converted to the Mozart piano in 1948, after a series of private concerts at which the remarkable Isolde Ahlgrimm played Mozart’s Piano Sonatas on a Walter pianoforte. Affectionate sighs alternate with the gentle flow of tender melodic phrases. And only available on the Henle website. Less other-worldly in character is the last of Mozart’s piano sonatas in D major. Understandably, Mozart retained a special affection for it and continued to perform it himself. THIRD MOVEMENT   The somber ethos of E flat is dispelled by a concertante Rondo finale in B flat, although this good-humoured movement does retain a touch of seriousness – a sufficiently weighty conclusion to this fine Sonata. 49 N°2. 2003 Imagen de Elregistrador: 1. Among Mozart’s contemporaries only Joseph Haydn could occasionally match such a wealth of expression. This is apparently the only he completed and, far from being easy, it demands a high standard of finger technique. As in many late works, Mozart makes ample use of counterpoint in a gallant manner. I would not by any means deny the modern piano its qualities. The young artist was not only impressed by the remarkable interpretations he heard but more so by the evidence of the ethical power of music they provided - an aspect that he still emphasizes today.In 1945 Badura-Skoda entered the Vienna Conservatory. Its song-like eleven-bar theme, 4+4 (3 1/2) + 3 (3 1/2), with a concluding note at the 12th measure, is followed by an episode and a wonderfully varied return of the theme in D major (m. 25) instead of a contrasting second subject. His music has something comparable to the look in a child’s eye: unfathomable. Suggested viewing on YouTube: Paul Badura-Skoda, movements 1–3. Mozart had studied the compositions of the old masters as well as those of his contemporaries diligently, and he was constantly working on his own improvement. The development begins dramatically with a highly charged diminished seventh chord followed by two short crescendos. FIRST MOVEMENT   Although the six sonatas were apparently written down more or less at the same time, there is reason to believe that at least the opening Allegro of the Sonata K. 279 was composed earlier. In this critical appraisal first editions and autographs are compared, text deviations investigated and historical instruments are used. THIRD MOVEMENT   After this Andante Mozart did not write a finale but chose the F major Rondo, composed in 1786, to round up the Sonata. 17 Complete Mozart Edition,Door Mitsuko Uchida In the development, a storm breaks out; this passage is without parallel or precedent in Mozart’s piano works. It may be more than accidental that the A flat major theme of the second episode is almost identical with the adagio theme of Beethoven’s Pathétique Sonata. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. the supertonic of C and its mirror. Under the seemingly simple statements there is a profound undercurrent of emotion. Like the Sonata in C minor, it opens in unison, like the Concerto in C minor, it is chromatic. Thanks to this discovery – the result of ten years’ research – my approach to the modern piano has been able to acquire a transparency in my playing which I would never have imagined could be possible. The first subject group of K. 280/I, the eight- and sixteenth (quaver and semiquaver) – movement of the first 12 measures, contrasts especially nicely with the triplets of the following 14 measures. It would be absurd to ask which of the two masters expressed more depth in his music. Technical prowess alone won’t do it. The recapitulation starts in measure 39. The movement, which is related in form as well as key to the finales of the Sonatas K. 333 and K. 570, and also to that of the Concerto K. 238, comes to an end with a brief and wittily playful coda. It's also much smaller than a modern piano, at just 2.23m long. The irregular phrase-structure of the minuet is typically Mozartian. Piano Sonatas by Wolfgang Amadeus Mozart; Piano Sonata No.1 in C major, K.279/189d; Piano Sonata No.2 in F major, K.280/189e; Piano Sonata No.3 in B-flat major, K.281/189f 333: Allegretto grazioso 7 Wolfgang Amadeus Mozart: Piano Sonata No. 12 F Major, KV 332 (300k): 3. SECOND MOVEMENT   The second movement of this Sonata, and Adagio, is in F minor and in siciliano rhythm. Browse official sheet music in our Mozart Piano Sonatas playlist for piano - PDF download, instant print & online streaming - ♪ Piano Sonata No. The seven measures of the main theme are repeated, slightly varied. It is worth noting that due to the intense modulations, this Fantasy has no key designation, but is seemingly written in C major. In a letter of 1789 Mozart told his creditor Puchberg that he intended to write six simple sonatas for Princess Frederica of Prussia in order to raise some money. Klangwelt und Aufführungspraxis. The next three Sonatas K. 330–332, hitherto wrongly dated “Paris 1778”, were in fact composed in Vienna (or Salzburg), in 1783 as recent paper research has clarified. Level of difficulty (from 1 to 9): medium 4-5, Suggested viewing on YouTube: Ann Schein, movements 1–3. Anyway, only the last sonata of the cycle appeared in print during Mozart’s lifetime, but this one, however, repeatedly. Several features – not least the tutti entry preceding the cadenza (m. 168) – suggest that this is a concerto movement in disguise. Before that I had looked upon those apparently primitive instruments with some arrogance and shared the widespread prejudice that the use of such instruments offered nothing but a historical interest. There is a lot of truth in Arthur Schnabel’s famous remark, “The sonatas of Mozart are unique; they are too easy for children, and too difficult for pianists”. For, if so many good musicians continue even now to prefer the round, comparatively even sonority of the modern piano, the reason is that only in a few cases is a historical instrument in sufficiently good condition to meet the strict artistic requirements of a Mozart Fantasy or a Haydn Sonata. During that year, he gave more than twenty concerts of his own works all of which were apparently fully booked: even in our modern “concert industry” era it is quite exceptional for a virtuoso, or even a famous composer-virtuoso, to make twenty successive appearances in a single city. Verified Purchase. Vol. CLASSICAL GUITAR LESSONS AUCKLAND with John Wakelin MMus, GradDipTchg. I wanted to buy both volumes from the same source but had to go to another supplier for Vol 2 of … The second episode in minor introduces a hint of melancholy into the course of gay events, which the third episode also interrupts, this time with a loud, dramatically spread diminished-seventh chord (m. 102-104). Review by: Jed Distler. A grazioso second theme begins in measure 9. THIRD MOVEMENT   The final movement is one of Mozart’s hunting rondos in six-eight meter, so often found in his piano concertos. (Mozart himself later added the F major Rondo K. 494 as a third movement for this sonata). XVI/23 and – even more so – with the presto theme of Haydn’s B minor Sonata Hob. The C minor Sonata is the first of a series of tragic works in minor keys, which culminates in the unfinished Requiem of 1791. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). Mozart: The Piano Sonatas performed by Mitsuko Uchida has been in my collection for a number of years now. When the opening them appears in the function of a secondary subject, it is enriched by a counterpoint in repeated notes which anticipates the fugal subject of the overture and Papageno scenes of The Magic Flute. The overall shape is a succession of slow, fast and again slow sections, with a return of the first theme towards the end. THIRD MOVEMENT   The final movement, a Presto, reverts to the foreboding of the first movement; but instead of presenting the drama with the help of an orchestral texture, this finale gives a more subdued image of the underlying mood of tragedy. Bach’s Sonatas. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. Indeed, in the variation movement of his last Piano Sonata op. It was Joseph Haydn who best recognized the combination of God-given talent and acquired mastery in Mozart when he said to Leopold Mozart: “I tell you before God and as a honest man that your son is the greatest composer I know. Embellishments, previously probably “improvised”, now became standard when the work was published with the written-out enriched ornamentation. SECOND MOVEMENT   It is followed by an intimate Andante cantabile movement with a beautifully expressive minor episode and some fine contrapuntal part-writing in the episode’s A flat section. Wolfgang Amadeus Mozart: Piano Sonata No. During those private concerts though, I clearly realized that here indeed was the authentic sonority and that the works touched the hearer with more immediacy than they did on an interpretation of equal quality but given on a concert grand. Only two years later he attracted attention when he won the first prize of the Austrian Music Competition. It is in sonata form, and sometimes gives the impression of having been conceived as a string trio. But, Brautingam puts an end to that unwise thinking the moment you put the disk in the cd player. Perhaps, Mozart was not able to undertake such a publication of a cycle publication; or did not want to pursue it in later years. Basically, this is a simple binary motif, which is repeated and merges imperceptibly into the concluding thought of the exposition. Paperback. Find album reviews, stream songs, credits and award information for Mozart: Piano Sonatas - Alfred Brendel on AllMusic - 2003 - Unless the audience is made up of sentimentalists… The silvery clearness of the sonority, the nuances of registers, the subtlety of the dynamic gradation and above all the sweet noble tones of the middle register remain truly unequaled. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. So I took up the chase, and thanks to the reviewers of several other editions, landed on this one. Naturally, the use of an ancient pianoforte or a copy does not by any means guarantee an authentic reproduction. $18.48. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. From the assertive opening on, the first movement is a sustained cry of protest, yielding at the end to a consoling Adagio movement, one of Mozart’s finest inspirations. While this is true, we must bear in mind that Mozart, like Bach and Schumann, maintained the highest standards when writing for students. Mozart's complete set of 18 Piano Sonatas. Eva Badura-Skoda and Paul Badura-Skoda, Interpreting Mozart. THIRD MOVEMENT   The finale, an irresistibly fresh and brilliant Allegro in 2/4 meter, concludes a distinctly original and lovable work. SECOND MOVEMENT   The second movement of this Sonata (in F major) is marked Andante cantabile con espressione. Mozart may originally have devised this as a four movement sonata, in line with his string quartets and symphonies, in which case the fragmentary Minuet K. 355 (594a), the chromaticism and polyphony of which is closely related to this Sonata, was probably intended as the third movement. Listen free to Wolfgang Amadeus Mozart – Mozart: The Piano Sonatas (Piano Sonata … Instead of a cantabile second theme (starting in measure 23) Mozart chose consistent semiquaver movement, followed by a two-part counterpoint passage in the left hand from measure 28 on. He has recorded a vast repertoire - more than two hundred long-playing records and dozens of compact discs appeared, including complete cycles of the piano sonatas of Mozart, Beethoven and Schubert.But Badura-Skoda does not limit himself to playing the works of the classical Viennese composers, his repertoire reaches from baroque to modern music. It is a unique experience to be shown around this treasury by the owner himself.1976 the Austrian State honoured Paul Badura-Skoda with the „Österreichische Ehrenkreuz für Wissenschaft und Kunst”, 1978 Badura-Skoda received the "Bösendorfer-Ring" which had been given only to Wilhelm Backhaus before, 1988 he received the Gold Medal of the City of Vienna, 1993 the artist was nominated „Ritter de la Legion d’Honneur” and 1997 „Commandeur des Arts et des Lettres”. 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.