Відео

Cindy has a wonderfully sensitive touch for a ten-year old girl - a couple of observations : for the end of the 1st movement exposition M. clearly wrote in : : repeat marks in autograph - so it would be incumbent upon any performer ‘to obey the wishes of the Maestro himself…’ Ditto for ignoring Mozart’s clearly indicated repeat indications of the exposition of the 2nd movement A good idea with a student who has progressed to this level of performing Mozart’s Klavier sonatas would be to allow this talented little girl the opportunity to perform them on a fortepiano (period or better-than-exact modern replicas) tun’d down to A= 430 Hz - so she can appreciate the rich separation (‘non blurriness’) in the bass-line (which happens with such as a mega-modern grand piano) - But on balance this little girl has a future in concertising on her instrument (despite the massive competition) - It is painful decision but many of her ilk decide (or her parents decide) to have advanced pupils study especially in places like Salzburg or Vienna (or any major European city) -that is, if she wishes to focus her repertoire on the classical-early Romantic Western Art composers (say those composers who were active between c. 1765-1815) but it may still be a little early to find out exactly what ‘Musical or National Style’ best suits her own inclinations … The only advice I would give this performer would be to work-hard at playing as much Mozartean Klavier works as possible over the next 5 years including the fantasias but also the great series of Klavier concerti (especially the 13 or so concerti composed between K. 449 (1783/4) through K. 595 (1790) and also the great chamber music with Klavier (e.g. K. 452 of 1784) as well as his late organ works e.g. the fantasia and fugue in f-minor K. 608 (1791) &c. that is once she can handle an organ pedalboard which she should take-to like a duck to water ! Good luck, madamina !!