#k. 310

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[Piano sonata in A minor, K. 310] is a very clear example of my conviction that most piano works should not be interpreted merely in keyboard terms. The first movement is a symphonic piece—just observe the audience’s consternation if you play it as such. The second is a soprano aria with a dramatic middle section. I can even imagine the text. Think of the large-scale dynamics of the movement and the recurring six-four chords which stand there like pillars. We can see a proud woman standing there, saying: even if you tear me apart, I love you and shall remain true, and would rather die than deny you. This middle movement is then followed by the finale, a spooky piece for wind divertimento. It is precisely this that is very often to be found in Mozart’s sonatas: namely the sound of wind instruments, more often than that of strings.

Alfred Brendel (On Mozart: An Interview with Alfred Brendel)

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Piano Sonata No. 8 in A Minor, K. 310

- II. Andante cantabile con espressione (excerpt)