Mozart's Clever Development Section - Composer Insights

We examine the Development section of the first movement of Mozart’s Piano Sonata in D major, K284. In the space of 20 bars Mozart packs in a mobile and clever series of modulations while he explores a small number of musical ideas to develop from the Exposition. This composer insights lesson explains the logic and ingenuity of Mozart’s design and how it leads seemlessly into the Recapitulation.
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🕘 Timestamps
0:00 - Introduction to Mozart's clever development section
0:36 - Playing the piece
1:02 - An overview of the sonata form
2:46 - Development section
3:47 - Harmonic analysis
22:39 - Conclusion
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[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@jayducharme]

That's fascinating. What impresses me is that the cleverness doesn't advertise itself. Listening to it, the development flows beautifully and sounds completely natural.

[@MusicMattersGB]

Absolutely

[@NomeDeArte]

Wolfie is the best to me. Thanks for the video!

[@MusicMattersGB]

😀

[@enriquesanchez2001]

ABSOLUTELY fascinating analysis! Had I had the good fortune of such a teacher as yourself 50 years ago who could explain things so marvelously succinct! ♥♥♥♥ Thank you, sir!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@OfficialDanieleGottardo]

Wonderful modulations via chromatic inflections

[@MusicMattersGB]

Absolutely

[@theophilos0910]

Listening to the 20-bar development section of the 1st movement of K. 284 (Summer 1777) in D-major one is reminded of the kind of ‘warm up fantasias’ that M. would improvise at his Klavier after playing a long series of ‘accordi semplici’ (‘plain chords’) possibly to establish in his subconscious ‘friendly neighbours’ to e.g. D-Major - we notice this type of rapid & often surprising/startling modulations in his fantasies especially ‘a Fantasia (= a toccata or passacaglia) to test out a new klavier’ in C/major (tho’ it doesn’t stay there long !) that M. wrote out in Nov/Dec 1777 after testing Stein’s new ‘escapement mechanism’ which moves around chromatically & diatonically with a stunning sense of ease & naturalness - these ‘streams of musical consciousness’ make us sad that M. did not later write many of these impromptu’s down on paper - if he did we would have at least 100 of them to add to the ever-expanding Koechel Catalogue …

[@MusicMattersGB]

😀

[@pjny123]

Just Brilliant! Thank you so much Gareth. Being aware of what's going on beneath the surface gives me added appreciation for this gorgeous piece, and I think, brings us even closer to Mozart.

[@MusicMattersGB]

A pleasure

[@johncenter4858]

Finally some Mozart! You got me here. Now I'm sending you money every months! 😊

[@MusicMattersGB]

Most kind. Thank you

[@carlstenger5893]

Wonderful video. Thanks so much!

[@MusicMattersGB]

You’re most kind.

[@laura_whittle]

Masterful video Gareth…! Thank you…!

[@MusicMattersGB]

A pleasure

[@mustuploadtoo7543]

Gareth I love your music matters upload. normally youtube music theory channels can be quite dry but these are thoroughly entertaining. you get across a lot of music theory that is more complex than most channels and go into a lot of detail (unlike david bennett piano who covers things quite surface level). thanks 😀

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@frankspears4597]

Great insight. thanks.

[@MusicMattersGB]

Glad you find it useful

[@Stashi1808]

Thanks. This really helps.😊

[@MusicMattersGB]

Excellent

[@NichtWunderkind]

Wonderful analysis Sir, really helps for students

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@scottweaverphotovideo]

A fun adventure! 👏

[@MusicMattersGB]

Absolutely

[@hougrel9514]

Thanks

[@MusicMattersGB]

Thanks for your support.

[@Mazurking]

A suggestion: could you perhaps put the chord progressions that you went over on the sheet? Either way, great analysis and explanation. These are the video's I love to see!

[@MusicMattersGB]

Glad it’s helpful. Will think about how we might do that

[@ericrakestraw664]

The development section of this particular Mozart sonata reminds me of Haydn's developments in his piano sonatas. I'd like to see an analysis video of a Haydn sonata form movement and how his style relates to and also differs from Mozart.

[@MusicMattersGB]

Good idea

[@scottweaverphotovideo]

I would love to hear your analysis of Scarlett's beautiful K52 sonata in d minor.

[@MusicMattersGB]

😀

[@the_eternal_student]

I enjoyed the treatment you gave to Sonata Pathetique and the Prelude and Fugue in f# minor. If you give the same treatment to k. 333, I will pay for that.

[@MusicMattersGB]

😀

[@martinbennett2228]

I thought you would discuss those unprepared dissonances in the first 8 bars of the development. I find it quite tricky, when I try to play the section I nearly always trip up somewhere.

[@MusicMattersGB]

They’re great

[@CarlosMartinez-gr1rp]

What a showoff by Mozart: the chromatic hint at another key that first do not realize and later do, the VI chord that actually was a N6. So many details in the construction ... amazing. Thanks for decoding it for us!

[@MusicMattersGB]

A pleasure. He’s a genius.

[@isaacshaw1596]

@@MusicMattersGB Would you say Chopin is a genius?

[@MusicMattersGB]

I suppose it depends on how you define genius. He’s certainly a gifted, inspired, imaginative composer who writes especially beautifully for the piano.

[@pablov1973]

Mozart wasn't exactly Haydn or Beethoven when he had to face development section, at least in first movement of piano sonatas and symphonies. Things changes when he uses Sonata and Rondo-Sonata form for the last movement, specially on chamber music. The fugato development seems to attract him a lot plus the wise combination of alternating homophonic and polyphonic textures. But for the first movement I believe that he reserves the big expansive sonata form for the piano concertos.

[@MusicMattersGB]

😀

[@isaacshaw1596]

What kind of piano would of Mozart had? I would've thought his piano would've only gone down to the F two octaves below middle c. However he writes an A at the end of the exposition which is a whole 6th lower or would it have been the top range which was cut because he would've only had 66 keys instead of 88.

[@MusicMattersGB]

The pitch ranges of pianos varied. His piano certainly was more limited in resonance and range of sound.

[@dedperdedtld]

Hi! I'm confused. KZbin tells me this video was published 5 minutes ago, yet it has comments which were left 2-3 weeks ago 🤔 was it first released with limited access (by link) and today you made it open to everyone?

[@trevorguy63]

It was probably released earlier for members of the channel.

[@dedperdedtld]

@@trevorguy63 👍

[@MusicMattersGB]

Absolutely correct. Members have early access along with many other perks. You’re welcome to join us - see Maestros at www.mmcourses.co.uk

[@dedperdedtld]

@@MusicMattersGB thank you!

[@MusicMattersGB]

😀

[@the_eternal_student]

I wonder if you have anything to say about english or german lute composers and pedagogues, esp. since you do music appreciation videos, because in the English world as I know it, society is not as familiar with them as the general baroque composers like Bach, or in this case the classical composer Mozart, and thus as an amateur, I do not know if they made any lasting contributions.

[@MusicMattersGB]

We could examine that topic

[@the_eternal_student]

@@MusicMattersGB Thank you. In that case let me add I was thinking about how a jazz guitarists mght find commonality with the lute composers and pedagogues, although I know heavy metal guitarists already study classical guitar.

[@MusicMattersGB]

Interesting connection