K. 28, Sonata in C

K. 28, Sonata in C

Another work from The Hague.  Two allegros with only hints of emotional variety. For the most part, this work is a lively hopeful piece.  However, hidden within both movements are suppressed murmurs of worry.  It is kind of like the fun-spirited clown that makes a quick dark joke.  Everyone looks his way.  He shakes his head saying, ‘never mind.’ 

K. 27, Sonata in G

K. 27, Sonata in G

I’ve done some preliminary research on Princess Carolina. An interesting set of circumstances was going on during the Mozarts’ stay.  Princess Carolina had a number of family members die.  Someone, somehow, had determined at one point a woman could be a regent.  However her parents bore a son, Willem.  They were only a year apart.  Carolina’s Grandmother died in 1765, placing the young princess into the role of regent, for Willem was only 17. 

The spotlight blared on this young princess.  I could only imagine the pressure.  Was it her youth that attracted her to young Mozart?  She knew what it was to be young and in the spotlight.  Thus, had she be charitable to Mozart in such a way that he dedicated K. 26-31 to her?  Clearly.  These works were offered to her on a particularly peculiar day: Willem’s 18^th birthday, the day he became regent.  You’d think such works would have been dedicated to the new king.  Carolina must have played an important roll in Mozart’s life. And, he wanted to declare his appreciation for her leadership as she moved into 'retirement'. What exactly did she do?  I have yet to discover.  If anyone has more info, please share.   

So, on to K. 27.  This work is only two movements.  Not sure why.  Both are familiar to some of his other earlier works, but the first strums of the harpsichord in the andante poco adagio evoke the sounds of that opening violin solo in K. 219. This hint repeats.  The allegro movement rings similar to other allegros. 

K. 26, Sonata in E-flat

K. 26, Sonata in E-flat

Right now I am trying to sift through works of contention.  I am in period of Mozart’s life where various pieces ascribed to him during his Hague months.  He was sick for some time, and downtime lent itself to composing.  I was gone for the weekend, so it was hard to sort through which piece to listen to next.  Thus, I choose a work of little debate, and a work lumped in with others so I can comment further on their history in future blurbs.  I want to find out more about Princess Carolina, to whom K. 26-31 were dedicated. 

The first movement opens with an allegro molto. One hand of the harpsichord ticks like a high paced metronome.  Seems a theme through out the piece.  The first movement flutters with hopeful anticipation. The second movement is an adagio poco andante.  This combination of tempos is new to me.  I learned the poco mean ‘a little.’ What came to mind as I listened to this movement was a slow tango.  It has a dramatic attitude that is followed with a surrendering sigh.  Like when my oldest son becomes defiant in cries, when I removed the stimulus, he quickly caves in. 

The third movement is a rondo (allegro).  I’ve read that the entire work could be played with the keyboard alone, but this movement leads me to wonder how that could be.  The two instruments dialogue in such a manner that would seem dead with one instrument alone.