Piano Sonata No. 10 (Mozart)

Wolfgang Amadeus Mozart's Piano sonata No. 10 in C major, K 330 (300h) is one of the three works in the cycle of piano sonatas K.330-332. The sonata was composed in 1783, when Mozart was twenty-seven years old. It was published, with the other two sonatas in the cycle, by Artaria in 1784. A typical performance of this sonata lasts around twenty minutes.

The work is considered one of Mozart's most popular piano sonatas, and has been featured in classical music-related films, such as Sparky's Magic Piano. Mozart's autograph of the sonata is held in the Jagiellonian Library, Kraków.

Movements

The sonata is in three movements:

I: Allegro moderato

The first movement typically takes about five minutes to nine minutes to perform. The length of the movement depends largely on whether both repeats (the repeat of the exposition and the repeat of the development and recapitulation) are observed. The movement shows two clear major themes, which have been decorated by the use of ornamentation, as was typical of the time.

Piano Sonata No. 10

Piano Sonata No. 10 may refer to:

Piano Sonata No. 10 (Prokofiev)

Sergei Prokofiev's Piano Sonata No. 10 in E minor, Op. 137 (1952) (unfinished) is a sonata composed for solo piano.

Movements

References

External links

Piano Sonata No. 10 (Scriabin)

The Piano Sonata No. 10, Op. 70, was written by Alexander Scriabin in 1913. It was his final work in this form. The piece is highly chromatic and atonal like Scriabin's other late works, although arguably less dissonant than most of his late works. It is characterized by frequent trills and tremolos. It is sometimes called his "Insect Sonata", referring to his words:

"My Tenth Sonata is a sonata of insects. Insects are born from the sun [...] they are the kisses of the sun."

The atmosphere of the introductory pages of the Tenth Sonata is veiled and distant, like an impressionist reflection, but much more intensely elevated and spiritual. Trills soon sweep into every corner of the music, and in the last pages they are transformed into a glorious reverberation, as if shimmering with pulses of glowing light and taking on lives of their own. Such life and light/sound corroborations are typical of the composer's own imaginative world.

Unlike most of his other sonatas, the tenth follows the traditional sonata form. It opens with a few desolate notes, forming an augmented chord and then a diminished chord. Then, it moves on to a simple chromatic theme, and then back to the opening theme. Scriabin then introduces the luminous trills that pervade the rest of the piece, and then moves on to a third theme with a chromatically descending melody. Following the sonata format, these three themes take on a modified form in the development before settling down to the recapitulation. The piece ends by repeating the opening.