MOZART'S FOUR-HAND PIANO SONATAS WITH A THEORETICAL AND PERFORMANCE ANALYSIS OF K.358 IN B FLAT MAJOR AND K.497 IN F MAJOR.

摘要

The purpose of the study was two-fold. First a brief overview of each of the one-piano, four-hand sonatas by Mozart was presented through a series of formal-structural abstracts. The written literature addressing the subject of Mozart's life and works with emphasis upon the literature discussing the four-hand sonatas was reviewed. A number of recordings of the sonatas were surveyed. Additionally, several editions of these works were examined. (For the purposes of the present study, the childhood Sonata in C Major, K.19d was not considered.).;Among the findings gleaned from the study, was that each of the sonatas exhibited expected high-level formal-tonal schemes. Also, each of the four middle movements was cast in the key of the subdominant, an expected compositional procedure in the works of Mozart. The most interesting findings were observed in the F Major Sonata. This is likely a result of the fact that the F Major Sonata is a later and much more mature work than the B Flat Major Sonata. One of the most fascinating findings of this study was the observation of the role of phrase rhythm. While phrase rhythm was found to be significant in both sonatas, its greatest impact was noted in the F Major Sonata.;With regard to recommendations for further study, there is a need for an intensive study of the two sonatas that were not considered in detail in this study, the D Major Sonata, K.381(123a) and the C Major Sonata, K.521.;In the second phase of the study, a theoretical and performance analysis of the Sonata in B Flat Major, K.356(186c) and the Sonata in F Major, K.497 was presented. The thrust of the analysis of these two sonatas was to present a number of musical examples where analytical considerations assist in making performance decisions.