Hi.

For some reason, a the last movement of Mozart's piano sonata K.570 has me completely stumped (and I have to own up to a first class bmus, so no idea why this is so difficult - I'll blame it on it being a Monday!)

From what I can tell, there are 4 main themes. These themes come back in various different related keys but what I am struggling with is finding an overall structure.

This is what I have so far:

Melody starting at bar 1 with a rising chromatic scale on 2 on-beat quavers, crotchet and 2 quavers. This then has a related melody at bars 9-14 before the first melody returns. This little section therefore has an ABA structure.

Bar 23 starts with a synchopated right hand. This rhythm turns up throughout the rest of the piece in either 6ths or 3rds, with either a rising or falling last quaver. The structure of bars 23-42 is also ABA but with interesting key changes. The first A section starts in Bb major, finishing in F major (dominant). The B sectionn is a kind of development sectionn with interesting minor keys being elluded to. The 2nd A section starts in Bb and instead of changing to F major, continues in Bb. This is almost a very short sonata form - is it?

Then after the bridging two bars (43&44) new material starts. The repeated quavers are possibly a development from the LH at bars 23. Here, a chromatic quaver section is introduced (the chromaticism possibly related to the chromatic scale at the very beginning?).

The final (longest) section is the really confusing one. It starts with the chromatic quavers (bar 49), brings back the bars the B & last A section from the very first ABA section, then uses the synchopated right hand material.

I hope that all made sense. Could someone either tell me I am talking nonsense and point me in the right direction or confirm I am on the right track. Is there an overall structure or is it simply a hotch-potch of themes?

Thanks!

Well everything you say is actually correct. I have played this sonata for nearly 5O yrs. Its one of the easier ones (apart from a couple of tricky bars in the first movement -you will know which ones I mean). I tend think of the last movement as a somewhat modified ABACA, say ABAC1C2A.

Is this analysis going into your diploma Programme Notes?...

Yes it is. I can play it, know it inside out, but I couldn't figure out a form (binary, ternary, sonata etc) which described it best. I was erring on the side of the rondo but wasn't convinced. Also, the middle movement of the sonata is a rondo so thought Mozart couldn't possibly have done two rondos in one sonata...could he?

Oh, and thanks fsharpminor for that post!

Is such technical analysis appropriate for Dip programme notes?...

Possibly not but I want to know the piece inside out if I am to perform it. The viva in my LRSM was harder than I expected so I want to be as prepared as possible. The programme notes I write will not be technical at all - I'll mention the main themes recurring but it's more that I want to know it for myself. If that makes sense?

Yes in fact the structure of the slow and last movements is quite similar. I definitely call the last movement as a type of Rondo, if niot strictly ABACA etc.
Mozart often called slower movements Rondo, eg Rondo on A Minor K511 I think - harder to play well than any of his Sonatas, and I think about the only one thats been at Licentiate Dip level.

Fair dos and kudos for doing more than one ABRSM dip in different instruments!

One book that I have (analysis of Mozart solo piano works - but actually talks more on interpretation) states that this movement is in 'rondo' form.

A - from bar 1 (obviously!)
B - from bar 22
C - from bar 45
A (abridged) - from bar 63 (suggests a recapitulation in sonata form) but lasts only 8 bars.
B (abridged) - bars 71-74
C (abridged) - bars 75-84

I have another analysis book which I remember is more detailed but it is not with me - sorry!