求莫扎特奏鸣曲C,K.279介绍翻译

求莫扎特奏鸣曲C,K.279介绍翻译
Mozart-Allegro from Sonata in C, K.279
This is the last movement of the first of a set of six sonatas written in a comparatively short space of time in the year 1774, when Mozart was just 18.
It is a movement in sonata form.(a form which you might more closely associate with first movements of sonatas.) The three main sections are clearly discernible: the exposition, the development(begining in bar 57)and the recapitulation(begining at the end of bar 87).
The first subject(in the key of C major) strides out in a confident manner. The secpnd subject with repeated note figure(begining on the last quaver of bar 22), is more circumspect in manner, it is as you might expect in the dominant key (G major). The playing of this figure should have a musical shape-this will give it direction as it moves towards the dotted crotchet, subsequently falling away in volume at the end of the slur. The upward interval of a 4th connects the two subjects motivically.
Both subjects are given treatment in the development, opening with references to the second sugject. Note the reversal of parts in the hands at the end of bar 63, the first real allusion to any minor key, leading into a passage of dramatic forte at bar 70. The drama is futher enhanced by pause in bar 77.
Minor heys prevail for the following two utterances of the first subject. Note how Mozart's use of the key transforms the mood completely, the swift changes in dynamic also add to this.
A false start to the recapitulation is heard in bars 86-87, but this is swept aside for the true recapitulation begining on the last quaver of bar 87.
A reversal of parts (as seen in the development) can be heard in bars 92-93. The bridge passage, begining at the end of bar 97, touches on the subdominant key before paving the way for the re-announcement of the second subject(now in the tonic key) at the end of bar 109.
The recapitulation does not completely follow the plan of the exposition, there is further transformation of the material form bar 136 and a forceful entry in octaves in the L.H begining at the forte in bar 140.
Clear delineation of the dynamics in an important feature in the structuring of this music. The movement is full of piano/forte contrasts:these should be embraced fully.
The coda is ebullient and finishes off this splendid movement-a movement which is quite a remarkable example of Mozart's early keyboard writing.