Piano Sonata in B flat major

Piano Sonata in B flat major
This n-ork,giwn here In Its entir~t!-.has heen called hy Alfred Einstein a realization of the id&
of Jiozartb pinno sonatas.'
Remember that the opening i'our notea are performed as four sixteenth. notes, and that all the
small appoggiaturas are played on the beat. Their [en-gthdepends on their context. The one in bar 27,
for ~xauample,i s to have the length of nn eighth note; the ones in bar 7 of t h e second mm-ement are
thirtyseronds. Are all appoggiaturas mitten small? What is the advantage of so wifing them?'
The third movement has some of the atmosphere of a concerto: t h e statement of the opening
eight b a n pinna and their immediate repetitionforte suggests the way In which the finales of some of
Mozart's piano concertos hegin,and t h e cadenza near the end-rare in a solo sonata-confirms this
impression. What is the source af the materlal in bars 76-80?
Allepro
'hlRed Einstein. Sfmart. H i a Character, His Work (New York: Oxford University Press, 19-15),p. 240. C h ~ l e %
Rosen makes a brief analytic MrI'Iment on the h r i d g section afthe first movement in Sonata F m s (New Fork:
Morton. 19801, pp. 222-223.
'An fnfnrmatiw article on this subject, with many examples, is Ernst Oster's "On the 3leaning ofthe tong Appoggtatura,"(trans. 'by R. KesovsQ), in Theory atEd: Practice (Itbaca, N.Y.: Music Theory Society of Yew York State,
August 1982). p. 2 0 .
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RlCORDl AMERICANA S. A. E. C. - Buenos Aire:. Unicos iditores eulorizados para Amerjca latine.
:Coptl.,~igJtt,YfCJfAIYIX,69 0.f:iic;'#iii 60.:
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