There’s a dualism of “A” minor/”A” Major in this concluding movement, not to mention a very moving “D” section interlude in F# minor (which is the relative minor of “A” Major)

From measure 89 to the end of the piece, however, the composer resoundingly affirms “A” Major.

I find the whole movement to be innovative in this tonal dimension where the composer saturates the listener with the recurring “A” Minor Rondo (A) section, then teases with the parallel “A” Major interludes and other tonal escapades before he finally settles into “A” MAJOR. Although the opening KEY signature is A Minor, the movement transforms to “A” Major and stays there for more than a page. And if you count in the Coda, “A” Major endures for greater than two full pages leading to the final cadence.

In teaching this first section, I emphasize the shape and contour of the opening phrase, it’s motive, or capsulized musical idea, (having an upbeat configuration) and the need for a rolling motion.

Separate hand practice behind tempo is always recommended as I demonstrate in the instruction following my play through:

Play through:

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LINK

Mozart Rondo Allegretto, K.545