Analysis of composer Wolfgang Amadeus Mozart

One of the most famous people—not just famous composers—in the world, Wolfgang Amadeus Mozart epitomizes the spirit of th century classical music. A child prodigy from Vienna, Mozart composed everything from chamber music to operas, from symphonies to piano concertos.

This piece is one of Mozart’s piano sonatas, Piano Sonata in D minor. As the title suggests, it is written for piano. There are two sections, named A and B, although A is repeated. Although there is a notable contrast between Sections A and B, their overall structures including time signatures and key, remain the same. Phrasing is the main difference. Section A is repeated exactly after the conclusion of B.

In D minor, Mozart lists the C and E as sharps. A few accidentals occur, one in section A (measures 7 and 8) and in Section B (measures 1,2 and 3). In Section B the chromatics involve raising the B one semitone.

Being a Mozart composition, of course there are motives. Most notably are the recurring groups of eights notes in both bass and treble clefs. Measures 2,3,4,6,7,8 of Section A, and measures 1,2,3 of section B include these poignant, catchy motives that add both rhythm and melody to the sonata.

The meter of the piece is a square 4/4, which is why the aforementioned motives work so well within it.

However, Mozart does not use arpeggio or Alberti bass in this composition.

Both treble and bass clefs are included to allow the pianist to span the range of the instrument. The clefs do change, with the bass playing melodic sections and reaching fairly well into the middle section of the piano’s octave ranges.