Viennese Sonatina No. 8 in C Major, First Movement

Wolfgang Amadeus Mozart: A Genius Composer Representing the Classical Era

Born in Salzburg, Austria in 1756, Mozart is a representative composer of the Classical era. At the age of 25, he broke with the Archbishop of Salzburg, and for the latter 10 years of his life, he left his hometown and was active in Vienna. He left many masterpieces during his short life of 35 years and remains a superstar loved across generations. This piece was one of those published posthumously by a Leipzig publisher as “Mozart’s 12 Little Pieces,” but there is no definitive proof that it is a work by Mozart. In an era without copyright, it was common practice to arrange Mozart’s works from other genres for piano or to publish works by other composers as “Mozart’s works” to capitalize on his popularity.

Key and Form

Sonatina is a term used to mean “small sonata” or “easy sonata,” and this piece is also structured as a compact sonata form. Let’s learn the basic form of clear formal beauty through this classical piece.

• Exposition (measures 1-8)

• First Theme (C Major)
• Second Theme (G Major)

• Development (measures 9-16)
• Recapitulation (measures 17-24)

• First Theme (C Major)
• Second Theme (C Major)

• Coda (Concluding Section) (measures 25-30)

The first theme begins in C major, and after a half cadence in measure 4, a melody in the dominant key of G major appears. When playing, pay close attention to how the harmony changes as the left-hand bass notes ascend chromatically from measure 5. The development section begins after the repeat sign. Here, a singing 4-measure melody appears twice, but with changes in harmony and register. The chromatic movement in measure 15 leads to the dark sound of a diminished seventh, but from there, with chromaticism in the inner voices, it naturally returns to the initial melody. Express contrasts such as light and shadow, brightness and darkness, and dynamics. It is important to clearly be aware of the differences between the exposition and the recapitulation. The places marked with * are where changes occur. You must clearly remember these differences. The Coda (concluding section) of this piece maintains the C bass note throughout. When playing, try to sustain the tenor line (B~A~F~E) as much as possible, as if converging towards the end of the piece.

Articulation and Dynamics

To play a singing melody vividly, controlling the timing of “breaths” and the weight and strength of the sound is crucial. For example, within the first two measures, the heaviest note is the first beat of measure 2. A crescendo should be applied towards this dominant note. However, be careful not to make the weak beat of measure 1 (the fourth beat) too strong when trying to apply a crescendo.

This piece begins with an anacrusis (upbeat). Play the fourth beat of the anacrusis lightly, connecting it to the next first beat. Mentally count 1, 2, 3, and then play the fourth beat in rhythm. This fourth beat consists of a double stop (a third), but be careful not to break it apart or make it heavy. Instead of striking the key from above, place your finger on it and touch it quietly.

Play the continuous double stops in measure 2 smoothly in one breath. Students with small hands often tense their wrists when grasping a sixth interval, which can lead to playing the double stops roughly. Try to bring out the soprano line, and play the alto line by smoothly moving the thumb. Many students tend to bounce too much when they see staccato dots. However, staccato written with a slur indicates a portamento. Instead of a detached staccato, interpret it as playing each note carefully and distinctly, separating them without connecting them.

Also, two notes written under a slur imply a diminuendo nuance. This is because, in string instruments (bowing), singing, or wind instruments (breath), the breath or weight naturally diminishes. Try to ensure that the end of a phrase is not played roughly.

Touch and Pedal

Pianos from Mozart’s era had a light touch and a transparent tone. When playing on a modern piano with heavier hammers, aim for a light touch, as if pressing the key only about 8 millimeters instead of all the way to the bottom (approximately 10 millimeters). For important notes and notes that should resonate, play them richly. For other weak beats, playful passages, and ornaments (e.g., the off-beat of the first beat in measure 26), be careful not to make them too heavy. When the harmony changes (e.g., from measure 1 to 2, measure 5 to 6, measure 6 to 7, measure 17 to 18, etc.) or during chromatic progressions (e.g., measure 15), the sound will become muddy if the pedal is not completely changed. Aim for a transparent and beautiful performance by experimenting with techniques like shallow pedaling (half pedal), and always listen carefully to the resonance while playing.