Sonata 545 Mozart Analisi

A Macro-Analytical Approach to Mozart's Piano Sonata in C Major, K. 545
Brandy N. Gerber
Out of the numerous compositions Mozart wrote using the piano sonata genre, Sonata in C Major, K. 545 stands out as the only example composed for the sole purpose of a teaching composition.1 The Sonata in C Major is very well-known to the general public, as it is heard being performed by eager pianistsduring many piano studio recitals each year. The following macro analysis portrays how the sonata employs circle-of-fifth progressions to strengthen the tonal structure. In fact, large-scale circle relationships tie the sections of this work together.
The Sonata in C Major, K. 545 begins with a triadic, singing first theme which outlines the tonic chord of C major (figure 1).

Figure 1. Sonata inC., K. 545, measures 1-4.
Circle progressions embellish the harmonic movement of the first theme while extending the C tonality. The first theme concludes with a series of scaler passages that serve to oppose the opening triadic motion. These scaler passages, which occur in measures 5-12, close with a return to the arpeggiated motion of the opening theme. The harmonic movement in measure 11illustrates a repetitive statement of a G major triad with a C major six-four chord embellishment. This harmonic pattern repetition serves to prolong the G tonal center through the inclusion of an authentic cadence which summarizes the recent modulation to G major (figure 2).

Figure 2. Sonata in C., K. 545, measures 5-12.
The second theme, which is tonally centered in the dominant key of G major,commences after a measure of introductory material. This new theme uses a descending triadic passage, whereas the first theme employed an ascending passage (figure 3).

Figure 3. Sonata in C., K. 545, measures 14-17.
The next phrase of the second theme employs a series of arpeggios instead of the scaler passages found in the first theme. During this arpeggiated section, a series of circleprogressions occur which moves completely through the circle of fifths and returns to the starting point of G major. This full circle progression adds a natural unfolding to the music by following the most common progression and adds a sense of a drive to the cadence of the entire first section of the composition. The exposition is completed with a derivation of the opening triadic theme in A minor,the relative minor key of C major. This closing statement is embellished with grace notes and, after the first measure, deviates from the original melodic material (figure 4).

Figure 4. Sonata in C., K. 545, measures 18-26.
A codetta is located in the last three measures of the exposition (measures 26-28) which emphasizes the most important circle progressions of the new key, G major and Dmajor, tonally reiterating the key center of G major to the listener. The exposition ends with a strong perfect authentic cadence in G major (figure 5).

Figure 5. Sonata in C., K. 545, measures 26-28.
The development begins with a melodic motive captured from the exposition's codetta. This motive alternates with scaler material and forms a type of episode at each return of the motive (figure 6).Figure 6. Sonata in C., K. 545, measures 29-34.
The development commences in G minor, modulates to D minor, and eventually settles in the key of A minor. Each of these tonal centers are established with tonic to dominant motion. The development is a fairly short section in comparison to the other sonatas Mozart composed which demonstrates one area where Mozart manipulated the form of the sonata.The development employs a transition like passage to forward its tonal center to F major for the beginning of the recapitulation. The development's final cadence, a perfect authentic cadence in F major, elides with the downbeat of the recapitulation (figure 7).

Figure 7. Sonata in C., K. 545, measures 35-42.
The recapitulation is the most interesting area of this sonata. To modern day...