Sonata in F-major K. 332 The Sonata K. 332 is a rather transparent and modest work. Starts with an Allegro where both motives are particularly melodious and expressive. The Adagio is also made of two themes. The magnificent Assai allegro finale is both a brilliant rondo and a sonata movement with two themes by itself. The most shining virtuosity is omni-present right from the beginning of the movement. Sonata in B-flat-major K. 333 Probably finished in Strasbourg, 1778, the Sonata in B-flat-major K. 333 announces a come back to the classical sonata form as structured by Johann Christian Bach, the old friend with whom Mozart met in Paris few weeks before. This unusually elaborated and lengthy work appears at first as a gracious and relaxed introduction. But soon develops into a brilliant, virtuose, concerto-like movement. Within this initial Allegro, the melodic elaborations are very close to ones of Johann Christian Bach. This is in level with the most beautiful pages, for instance among the Sonatas op.17 of J.S. Bach's eldest son. However Mozart's themes are richer and more elaborated. Most of the development is in minor keys. The Andante cantabile in E-flat major takes a step further J. Christian Bach's style. Its central section, with its highly dramatic chromaticism and dissonances is unique. The Allegretto grazioso, a joyful Rondo is also very original and stylistically advanced. There are a few concerto-like cadenzas in this closing movement. Unlike the previous two series of sonatas, the following group of five sonatas (K. 457, 533, 545, 570 and 576) is not a homogeneous ensemble of stylistically connected works. They are very distant from each other, furthermore during a period of ten years (from 1778 to 1788) Mozart did not compose a piano sonata except for the C-minor one K. 457 Fantasie in C-minor K. 475 The Fantasie in C-minor K. 475 is finished in Vienna in May 1785, few months after the Sonata in C-minor (K.475). They are to be published as "Opus XI" in the same city, both dedicated to Theresa von Trattner. In the order as they are published the Fantasie comes before the Sonata. There is an intimate connection between the two. Same feelings, same exuberance, drama and same moments of tenderness. The extraordinary improvisatory genius of Mozart is presented together with most audacious harmonic liberties. The amazingly rich variety of musical materials employed in such a short time, combined with most audacious harmonizations are typical aspects of Mozart's genius. After the dark and tragic Adagio, lyrical and fast-peaced sections are alternated. A short Allegro with an intense emotional content connects to an Andantino introduced with two large cadenza-like scale runs. Follows a highly lyrical episode which itself connects to an agitated Piu allegro which gradually slows down and gets back to the dark introduction motives. Sonata in C-minor K. 457 Composed in October 1784, few days after the concerto in B-flat major (K. 456), dedicated to his pupil Theresa von Trattner, spouse of the music publisher, this sonata could be the most beautiful of the entire set. It has been published by the composer along with the Fantaisie in C-minor K. 475 composed in May 1785. This three movement Sonata is a piece of loneliness and passion which, according to Hermann Abert, "concludes with a dark resignation". It depicts a dark picture which contrasts with the Concerto in B-flat major, piece of extreme delicacy. Girdlestone sees two waves of feelings crossing all through the piece: "one brilliant and somehow superficial attitude and the other full intimacy as well as anxiety." The first movement, Molto allegro, starts with a theme in unison. This first theme will dominate the development section. Again this theme will serve as a stretto in the coda. The Adagio, in E-flat major, is captivating by its inwards serenity. Both a rondo and an "allegro of sonata" the last movement: Assai allegro, exposes a syncopated theme alternated with a straight rhythmical one. This last movement is even more tragic and desperate than the rest of the sonata. George de Saint Foix wrote: "one can not find in the whole music for the piano or in music in short, anything which can be as much "Beethovenian" before Beethoven as this sonata."