Piano Sonata No.6 in D%2C K.284 %22D%C3%BCrnitz%22%3A 3. Tema Con Variazione
Wolfgang Amadeus Mozart Lyrics


We have lyrics for these tracks by Wolfgang Amadeus Mozart:


Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave Verum Corpus K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
Communio Lux Aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%3A Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …



Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …


The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Genre not found
Artist not found
Album not found
Song not found
Most interesting comment from YouTube:

@miguelfontesmeira

Analysis:

Mvt 1: Allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1). The sixteenth-note figure is M1.
(0:05) Counter-Theme 1 (P2), with dominant pedal point. Notice how the linking run (m. 7-8) is actually based on a combination of M1 and m. 3!
(0:13) Counter-Theme 2 (P3), with tonic pedal point.
(0:19) Transitional Theme 1 (Tr1), modulating to V.
(0:25) Transitional Theme 2 (Tr2), using M1 to consummate the Half-Cadence.
(0:33) Secondary Theme (S1). The syncopated notes are M2.
(0:46) Counter-Theme 3 (S2), resembling Tr1.
(0:52) Pre-cadential Theme 1 (Cad1): M2 starts to be developed in the secondary dominant, preparing us for the Codetta.
(0:59) Pre-cadential Theme 2 (Cad2): However, a series of arpeggios takes place, being interrupted twice by another (V/V) figure that leads us to a wrong tonic cadence.
(1:12) Pre-cadential Theme 3 (Cad3): a last serene pause comes in to correct the tonality and finally conduct us to the
(1:15) Codetta.
DEVELOPMENT
(2:43) Episode 1: modulatory development of Tr2 through minor keys (Am, Em, Bm).
(2:56) Episode 2: still modulating through minor keys (Bm, F#m, Em, B♭dim7). The hand-crossing answers persist.
(3:05) Episode 3: the hand-crossing toccata-like answers expand, modulating to the secondary dominant (Dm, B♭, E♭, E7).
(3:12) That scalar passage in P2 (0:10) comes back, leading us to
RECAPITULATION
(3:15) P1 + P2 + P3 + Tr1 + Tr2.
(3:48) S1 + S2 in the tonic (and I have to point out that breath-taking ascending moment at 3:53).
(4:02) Cad1 + Cad2 mainly in V7, preparing us for the Coda.
(4:28) As if all that cadential antecipation wasn't enough, Cad3 is elongated even further in Recap.
(4:38) Finally, the Coda.

Mvt 2: Rondeau en Polonaise [Sonata-Rondo form]

|=> This movement is very interesting, for it blends together three musical styles/forms: The Sonata-Rondo (ABACB'A structure), the Polonaise (triple time, Andante, regular and sequential) and the Theme & Variations (if you ignore the episodes, this could easily be a Theme with 6 Variations, antecipating mvt. 3).

SECTION A
(4:51) Theme A (A1) in A major, second time with a tiny variation in triplets (Variation 1).
(5:32) Transition Section: actually, a less obvious variation of A1 with heavy ornamentation (Variation 2).
SECTION B
(5:53) Episode B, solar scales in the dominant.
SECTION A
(6:07) A1, exploring abrupt dynamic changes (Variation 3).
(6:28) Variation 4: the dynamic changes invert positions and the triplets of Var. 2 return.
SECTION C
(6:50) Episode C in the relative minor, resembling the Transition.
(7:06) Instead of the expected return of A1, we go straight into the Transition. The tonic preparation indicates that this is a Sonata-Rondo.
SECTION B
(7:27) Episode B in the tonic. There's a funny hesitation to revisit A1, probably fearing how virtuosic the last Variations will be.
SECTION A
(7:53) Finally, the two grandiloquent, show-off versions of A1. Variation 5 explores the heavily-ornamented aspect of Var. 2, while Variation 6 expands the triplets of Var. 1 and 4.
(8:52) After some hesitation and silence, a well-behaved Coda that brings back the Theme's tail (5:27) closes the movement. If we consider the ambiguity of this movement, this Coda could also be considered the final statement of the original Theme after the Variations.

Mvt 3: Tema con variazioni
(9:09) Theme, in Ternary Form (AABA'BA').
(10:07) Variation 1: the melody is reduced to LH chords with triplet accompaniment in RH. The syncopations produce an interesting effect.
(11:01) Variation 2: nice rhythmic contrast between sixteenths and triplets, more like a conversation between hands.
(11:57) Variation 3: same principle of Var. 1, but now with sixteenth notes instead of triplets and laconic octave phrases instead of dry chords.
(12:52) Variation 4: the first notes of the main Theme (9:11) are transformed into an interesting pattern that accompanies a skinnier version of the original melody.
(13:50) Variation 5: a calm version of the Theme consisting of repeated notes accompanied by thirds.
(14:47) Variation 6: lively toccata-like hand-crossing dialogue.
(15:43) Variation 7: right after the middle of the movement, a grumpy (and quite cynical) variation in the parallel minor.
(16:41) Variation 8: back to major, cheerful octaves and thirds dance across the keyboard in march-like rhythms. Notice how far we already got from the original Theme.
(17:37) Variation 9: preserving the previous variation's mood and color, this one plays with syncopation and funny imitative dialogues.
(18:31) Variation 10: the motivic element here is this flickering octave tremolo, swapping hands now and then.
(19:27) Variation 11: and we enter the spectacularly beautiful penultimate variation. Its romantic and improvisatory character resembles genres like the Fantasy or the Impromptu — with that heavily-ornamented melody (to the point of making the theme unrecognizable) above a very stable bass. At first sight it seems completely detached from the original Theme, but looking closely you can see that it fits perfectly in the Expanded Ternary Form scheme (AABA'BA'), as shown ahead: A (19:27), A (20:13), B (21:01), A' (21:26), B (21:57), A' (22:23).
(23:04) Variation 12: exactly the same structure as Var. 11 (the "outstretched" Ternary Form), but now at a fast tempo and combining elements from all previous variations. A1 (23:04), A2 (23:14), B (23:24), A1 (23:30), B (23:36), A2 (23:41).



All comments from YouTube:

@georgenorris2657

I was going through this sonata today. Just sightreading. and was totally floored by the finale. What is Mozart playing at here? I listened to Eschenbach playing it earlier and he makes it Beethovenian with sforzando bass notes in those odd gaps between the sections although he does play the slow variation very beautifully with much unclassical rubato which works very well here actually. Uchida manages it in a much more Mozartian way keeping the sfz bumps tasteful and making beautiful shapes with the extremely complex finger passages. There is one variation which has a simple alberti bass with extraordinary almost jazzlike improvisatory arabesques in the right hand and she plays this just magically. This is Mozart at his best to be sure although overall the movement still puzzles me. It is also extremely difficult!

@simpyoungyuk3885

I've played the first movement of this sonata, and I can tell you that the hardest part was 1:01, with the 32nd double thirds.

@_gg8036

2:42 is the hardest!Crossing two hands with 32nd running

@drose91

I remember as a beginner 0:25 was very difficult. Especially the left hand (being left-handed didn't seem to help). But maybe that part seems hard to me because I didn't get a lot farther in the piece as a beginner.

@miguelfontesmeira

Analysis:

Mvt 1: Allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1). The sixteenth-note figure is M1.
(0:05) Counter-Theme 1 (P2), with dominant pedal point. Notice how the linking run (m. 7-8) is actually based on a combination of M1 and m. 3!
(0:13) Counter-Theme 2 (P3), with tonic pedal point.
(0:19) Transitional Theme 1 (Tr1), modulating to V.
(0:25) Transitional Theme 2 (Tr2), using M1 to consummate the Half-Cadence.
(0:33) Secondary Theme (S1). The syncopated notes are M2.
(0:46) Counter-Theme 3 (S2), resembling Tr1.
(0:52) Pre-cadential Theme 1 (Cad1): M2 starts to be developed in the secondary dominant, preparing us for the Codetta.
(0:59) Pre-cadential Theme 2 (Cad2): However, a series of arpeggios takes place, being interrupted twice by another (V/V) figure that leads us to a wrong tonic cadence.
(1:12) Pre-cadential Theme 3 (Cad3): a last serene pause comes in to correct the tonality and finally conduct us to the
(1:15) Codetta.
DEVELOPMENT
(2:43) Episode 1: modulatory development of Tr2 through minor keys (Am, Em, Bm).
(2:56) Episode 2: still modulating through minor keys (Bm, F#m, Em, B♭dim7). The hand-crossing answers persist.
(3:05) Episode 3: the hand-crossing toccata-like answers expand, modulating to the secondary dominant (Dm, B♭, E♭, E7).
(3:12) That scalar passage in P2 (0:10) comes back, leading us to
RECAPITULATION
(3:15) P1 + P2 + P3 + Tr1 + Tr2.
(3:48) S1 + S2 in the tonic (and I have to point out that breath-taking ascending moment at 3:53).
(4:02) Cad1 + Cad2 mainly in V7, preparing us for the Coda.
(4:28) As if all that cadential antecipation wasn't enough, Cad3 is elongated even further in Recap.
(4:38) Finally, the Coda.

Mvt 2: Rondeau en Polonaise [Sonata-Rondo form]

|=> This movement is very interesting, for it blends together three musical styles/forms: The Sonata-Rondo (ABACB'A structure), the Polonaise (triple time, Andante, regular and sequential) and the Theme & Variations (if you ignore the episodes, this could easily be a Theme with 6 Variations, antecipating mvt. 3).

SECTION A
(4:51) Theme A (A1) in A major, second time with a tiny variation in triplets (Variation 1).
(5:32) Transition Section: actually, a less obvious variation of A1 with heavy ornamentation (Variation 2).
SECTION B
(5:53) Episode B, solar scales in the dominant.
SECTION A
(6:07) A1, exploring abrupt dynamic changes (Variation 3).
(6:28) Variation 4: the dynamic changes invert positions and the triplets of Var. 2 return.
SECTION C
(6:50) Episode C in the relative minor, resembling the Transition.
(7:06) Instead of the expected return of A1, we go straight into the Transition. The tonic preparation indicates that this is a Sonata-Rondo.
SECTION B
(7:27) Episode B in the tonic. There's a funny hesitation to revisit A1, probably fearing how virtuosic the last Variations will be.
SECTION A
(7:53) Finally, the two grandiloquent, show-off versions of A1. Variation 5 explores the heavily-ornamented aspect of Var. 2, while Variation 6 expands the triplets of Var. 1 and 4.
(8:52) After some hesitation and silence, a well-behaved Coda that brings back the Theme's tail (5:27) closes the movement. If we consider the ambiguity of this movement, this Coda could also be considered the final statement of the original Theme after the Variations.

Mvt 3: Tema con variazioni
(9:09) Theme, in Ternary Form (AABA'BA').
(10:07) Variation 1: the melody is reduced to LH chords with triplet accompaniment in RH. The syncopations produce an interesting effect.
(11:01) Variation 2: nice rhythmic contrast between sixteenths and triplets, more like a conversation between hands.
(11:57) Variation 3: same principle of Var. 1, but now with sixteenth notes instead of triplets and laconic octave phrases instead of dry chords.
(12:52) Variation 4: the first notes of the main Theme (9:11) are transformed into an interesting pattern that accompanies a skinnier version of the original melody.
(13:50) Variation 5: a calm version of the Theme consisting of repeated notes accompanied by thirds.
(14:47) Variation 6: lively toccata-like hand-crossing dialogue.
(15:43) Variation 7: right after the middle of the movement, a grumpy (and quite cynical) variation in the parallel minor.
(16:41) Variation 8: back to major, cheerful octaves and thirds dance across the keyboard in march-like rhythms. Notice how far we already got from the original Theme.
(17:37) Variation 9: preserving the previous variation's mood and color, this one plays with syncopation and funny imitative dialogues.
(18:31) Variation 10: the motivic element here is this flickering octave tremolo, swapping hands now and then.
(19:27) Variation 11: and we enter the spectacularly beautiful penultimate variation. Its romantic and improvisatory character resembles genres like the Fantasy or the Impromptu — with that heavily-ornamented melody (to the point of making the theme unrecognizable) above a very stable bass. At first sight it seems completely detached from the original Theme, but looking closely you can see that it fits perfectly in the Expanded Ternary Form scheme (AABA'BA'), as shown ahead: A (19:27), A (20:13), B (21:01), A' (21:26), B (21:57), A' (22:23).
(23:04) Variation 12: exactly the same structure as Var. 11 (the "outstretched" Ternary Form), but now at a fast tempo and combining elements from all previous variations. A1 (23:04), A2 (23:14), B (23:24), A1 (23:30), B (23:36), A2 (23:41).

@andrewlee1336

Thank you! Are you a musicologist?

@miguelfontesmeira

@@andrewlee1336 You're welcome!

Actually no, I have absolutely no formal training in Music Theory (I study Linguistics, actually haha). But I love it so so much that I decided to study by myself and create this channel.

In fact, I was kinda afraid to make these analyses public, because I certainly would screw something up, but then I thought "why not? Someone could correct me and make me learn more".

@jackgoebel8360

@@miguelfontesmeira That's amazing!

@miguelfontesmeira

@@jackgoebel8360 Thanks!

@alfvred7969

Sonata form can be a little subjective at times but this analysis is really great! I'm surprised you went through the trouble of doing all of it.

3 More Replies...
More Comments

More Versions