the first is shown, modulating into G minor, then C minor, where the same cut-in-half principal subject is heard. This is where the motif is repeated the second time, then giving way to the coda. The coda is founded on the second subject, starting in bar 262, with the right hand leading the melody along with the left hand accompanying with broken chords. In bar 296, the Neapolitan sixth is found in C minor. The coda ends with a perfect cadence. Relation of the Fantasy to the Sonata The Fantasia in C minor, K. 475, was completed some seven months after the C minor sonata. Mozart recorded the date of completion as 20 May 1785 in his private catalogue of works. Opinions have differed on whether or not Mozart intended the two to be performed together. Although they were published together as the same opus, Mozart sometimes performed the pieces separately. The Fantasy by nature has a more improvisational quality than the subsequent sonata, and the pairing presents a classical correlation to the baroque combination of fantasy and fugue. Both the fantasy and sonata are linked by a focus on the bass register and octaves in the bass clef. The styles of both Muzio Clementi and C. P. E. Bach have been suggested to have influenced the composition of the fantasy, whether consciously or subconsciously. Significance of the key The Piano Sonata No. 14 in C minor is only one of two sonatas Mozart wrote in a minor key, the other being the Piano Sonata No. 8 in A minor, K. 310, which was written six years earlier, around the time of the death of Mozart's mother. Mozart was extremely deliberate in choosing tonalities for his compositions; therefore, his choice of C minor for this sonata implies that this piece was perhaps a very personal work. Rediscovered autograph An original autograph of the two pieces was rediscovered in 1990 at the Eastern Baptist Theological Seminary in Philadelphia by Judith DiBona, an amateur pianist and accounting manager at Eastern's sister school. Eugene K. Wolf at the University of Pennsylvania was contacted to identify and authenticate the manuscripts. He emerged with findings concerning the time of composition between the movements of the sonata and the fantasy, which were published in The Journal of Musicology in 1992. First, his findings further confirmed that the Fantasy and Sonata were written independently due to differences