Mozart: Symphony #33 in B Flat, K 319 - 1. Allegro Assai Analysis

E- Essay II
Mozart: Symphony #33 In B Flat, K 319 - 1. Allegro Assai

Form Analysis - Sonata Form
(Time)::(Form)::(2 or 3 reasons for placing division here)
EXPOSITION
0.00::Theme 1::MELODY: Light, simple, sequencing and repetition; TEXTURE: light to suddenly heavy; DYNAMICS: Contrast from piano to Subito forte; HARMONY: Major with short minor excerpts
1:35::Bridge:: MELODY: Modulates, very short; TEXTURE:: Continues to go from light to heavy
2:05::Theme II::MELODY: New darker melody; TEXTURE: Thicker texture, more action; HARMONY: Minor and moves to Major;
2:19::CADENCE: Ends in a V to I Cadence
DEVELOPMENT
2:29::Development: MELODY: Playful, thematic development of T1, passed around the orchestra; TEXTURE: Light, gradually gets thicker and very heavy; HARMONY; Major, modulates constantly in instrumental sections
3:28::CADENCE: V to I: End in Development melody 1'
RECAPITULATION
3:44::Theme 1::MELODY: Repeat of Theme 1; TEXTURE: Almost identical to beginning HARMONY: Major with short Minor Excerpts
5:16::Bridge::MELODY: Repeat of Bride 1; TEXTURE: Light to Heavy contrast
5:47::Theme II::Melody: Repeat of Theme II; TEXTURE: Continues to go from Light to Heavy
5:57::Closing Theme: MELODY: New Material Based on end of Theme II; Texture Similar Textures with contrast from light to heavy ending in light
6:22:: Final Cadenza Ending in a Major key transition from V to I

This Piece by Mozart is one of 41 that he wrote and is a Prime example of typical Sonata Form. I thought this was interesting when I found out how "correct" this piece was in following the form because of Mozart's Background. Knowing of his childish innovative nature I would have predicted a slight distancing from the normal form. But aspects within the piece such as the bridge constantly being traded between parts and modulating helps show Mozart's struggle with himself and his employers. Mozart's dedication to his music is what kept him going but restrained him at the same time, for