![]() There is a brief piano restatement of the theme in the middle of the coda. Coda: A forte theme consisting mostly of chords (arpeggiated and not) and octaves.Section E: A forte scale-like theme followed by a modification of section D.Section D: A piano continuous sixteenth note melody over a broken-chord accompaniment.Section C: A forte march in octaves over an arpeggiated chord accompaniment.Section B: This section introduces new material in a melody in thirds and eighth notes before varying the A section with a crescendo before falling back to piano by a modification of Section A.Section A: This section, in A minor, consists of a rising sixteenth-note melody followed by a falling eighth note melody over a staccato eighth-note accompaniment.The third movement is a rondo in the form A–B–C–D–E–C–A–B–C– coda, with each section (except the coda) being repeated. ![]() ![]() In Mozart's time, the last movement was sometimes performed on pianos built with a " Turkish stop", allowing it to be embellished with extra percussion effects. Various other works of the time imitate this Turkish style, including Mozart's own opera Die Entführung aus dem Serail. It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Mozart himself titled the rondo "Alla turca". ![]()
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