This sonata is part of the earliest group of Mozart’s Sonatas K279 - 284 published in the mid-1770s. It was written in Munich when Mozart was visiting the city for the production of his opera La Finta Giardiniero. This is the only sonata that Mozart wrote in G major.
The Sonata in G major no. 5 K283 is considered a useful teaching piece however Mozart called them “the six difficult sonatas”. Mozart no doubt considered that the difficulty when playing these sonatas was in how the character and style is expressed to the listener. In this set of six sonatas, the difficulty of each sonata increases numerically. Some experts think that Mozart thought of publishing these six sonatas as a set because publishers at the time required an easy one to start with and a harder one to complete the set. Only the last sonata of the set was published in Mozart’s lifetime.
In Jane Mcgrath’s excellent book ‘The Pianist’s Guide to Standard Teaching and Performance Literature’ published in 1995, she states ‘the gallant first movement is not much more difficult than some movements of the Viennese Sonatinas. The second movement calls for a sensitive performer and the last movement can be awkward technically with its double thirds passages.’
All of the movements of this sonata have appeared in examination syllabuses over the years and in fact, the second movement is part of the current (2019 - 2020) ABRSM Piano syllabus. Possibly it is the most popular sonata of the group of six. Some of the other occasions movements from this sonata have appeared in exam syllabuses are-
First movement Allegro - Australian Music Examination Board Grade 7 Series 16
First movement Allegro - Trinity 2018 - 2020
Second movement Andante Grade 6 ABRSM 1986
The ABRSM teaching notes for 2019 - 2020 state that Mozart was only 19 when this sonata was composed but even so, it contains all the ‘hallmarks of his mature piano style, including detailed and varied articulation and beautiful cantabile melodies over a murmuring LH’.
First movement Allegro
An earlier set of notes I have located suggests that the player considers this movement in long phrases and sections avoiding too much fussy detail yet observing suggestions for touch and dynamics. it is also suggested that a little rubato could be used along with a small touch of pedal in places. This movement shows Mozart’s diversity of melodic invention.
Second movement Andante
The ABRSM teaching notes suggest that the LH should use finger-pedalling, that correct balance between the hands is important, that the player must be aware of how to shape feminine phrase endings and that the performer should imagine an elegant Viennese society setting when playing this sonata.
Although this movement can sound unpretentious, subtle shading of the repeated notes adds to the effectiveness of the theme.
Third movement Presto
This movement is quite virtuosic in style and character.
References-
www.henle.de
www.wikipedia.com
www.mariinsky.ru
Unfortunately the last page was lost of the following analysis by Stewart Macpherson of this sonata.