A m a d é . n l
Sonata in E-flat major (K. 481); we know nothing of the occasion for its composition: perhaps it was written only to get a little money from Hoffmeister, who published it. Mozart never came so close to Beethoven as in the Finale, consisting of six variations on a work-a-day sort of theme, or in the Adagio with its labyrinthine modulations, whose climax comes in an enharmonic change that bares the depths of the soul. All the more Mozartean, in its combination of the lovable with the thoroughly masculine, is the brief and rounded first movement. In the last of these 'great' Sonatas, in A major (K. 526), finished during the composition of Don Giovanni, Mozart achieves a perfect reconciliation of styles in this field as he achieved it in others. This work is like Bach, yet thoroughly Mozartean, in three contrapuntal parts, yet galant at the same time; and in the slow movement it attains an equilibrium of art and soul that is as if God the Father had brought all motion everywhere to a halt for a moment so that man might savor the bitter sweetness of existence. This sonata has been called a fore-runner of Beethoven's 'Kreutzer'' Sonata; but it avoids the 'dramatic,' the passionate; it remains within the boundaries of the eighteenth century; and in so doing it is only the more complete.
(From Einsteins book, Mozart His Character, His Work)