close

Mozart, Wolfgang Amadeus : 42 Stücke "Londoner Skizzenbuch"　Allegro F-Dur K.15a

Work Overview

Music ID : 72467
Composition Year：1765　
Instrumentation：Piano Solo　
Genre：pieces
Total Playing Time：1 min 05 sec
Copyright：Public Domain
pieces
Piano Solo
piano solo
F dur

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Performance Notes

While it may appear to be a musically and technically simple piece at first glance, performing this piece properly requires extensive knowledge of Mozart and experience in appreciating opera. Many of Mozart's compositions have strong operatic elements, and this piece is no exception. Consider it a single scene from an opera.

This opera is by no means a serious story; rather, it should be performed with a bright, optimistic mood. Instead of playing with a furrowed brow, approach it as a piece to be played with a smile, embracing that idea and sentiment.

For example, consider the first phrase to span measures 1-6. In measure 3, the right hand's B should be regarded as the peak point, from which it gradually declines. Consequently, measures 1-2 should build with a crescendo towards measure 3. The crucial aspect is to imagine the psychological state. As this is a very joyful and expectant piece, even though the same notes repeat in measures 1-2, they depict a gradual heightening of emotion. Therefore, in measure 1, even though there are three Cs and the F and A below them remain unchanged, it is important to convey a sense of progression and joy even when listening only to that part.

Even within this short piece, there is much drama. Therefore, for each phrase, try to imagine and express the composer's feelings at that moment.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: January 16, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

It is in ternary form.

  • A [a (measures 1-6) + a1 (measures 7-14)]
  • B [a2 (measures 15-20) + b (measures 21-24)]
  • A [a (measures 25-30) + a3 (measures 31-38)]

The main key is F major. There is a partial modulation to the dominant key of C major between measures 17 and 20, but otherwise, the piece develops within the main key.

The theme spans measures 1-6. While fundamentally a 6-measure structure, it becomes 8 measures due to the insertion of 2-measure motivic developments (measures 11-12, 35-36) in sections like a1 and a3. Incidentally, sections a1 and a3 are almost identical; however, in measure 12 of section a1, the left hand consists of quarter notes and eighth notes, whereas in measure 36, it consists of three eighth notes.

There are two characteristic motifs in the theme: one is the three unison eighth notes following an anacrusis of four ascending thirty-second notes, and the other is the leaping ascending and descending motion by a sixth interval in eighth notes, observed in measures 3-4. The theme as a whole is structured with an ascending tendency in the first half and a gently descending motion in the second half.

Throughout the piece, the theme reappears repeatedly with various subtle changes, making it crucial to understand its character.

From measures 21 to 24, unlike the preceding thematic material, there is a sequential repetition. This section serves as a transitional passage leading to the theme's recapitulation.

Overall, a wide range of pitches is not utilized, and the accompaniment parts tend towards the middle register, with no thick chords observed, suggesting a light and sprightly musical character. Occasionally, the left hand exhibits independent motion, differing from the melodic line, as seen in measures 11-13 and 35-37; therefore, these sections should perhaps be interpreted as somewhat polyphonic.

Writer: Kumamoto, Ryohei
Japanese