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Audrick
Приєднався 1 лип 2020
I make score videos for classical era music.
Mozart: Piano Sonata No. 11 in A Major, K. 331 [Score]
Mozart: Piano Sonata No. 11 in A Major, K. 331
0:00 - Intro
0:05 - I. Andante grazioso
1:58 - (Var. I)
3:26 - (Var. II)
4:58 - (Var. III)
6:48 - (Var. IV)
8:44 - (Var. V)
10:35 - (Var. VI)
11:56 - II. Menuetto
17:06 - III. Alla turca - Allegretto
Composer: Wolfgang Amadeus Mozart
Composed: in Salzburg, 1783
Album: "Mozart: Complete Piano Sonatas, Vol. 3"
Pianist: Walter Klien
"The Sonata in A is the second of three sonatas now established as likely to have been composed during 1783, perhaps during the period Mozart and his wife Constanze spent in Salzburg in the summer months of that year. This was the occasion on which the composer introduced his new bride to his father Leopold. Mozart clearly intended this trio to form a group, numbering them from one to three. They were almost certainly composed with his Viennese pupils in mind, teaching forming one of Mozart's principal sources of income during his early years in the Austrian capital. The present sonata has gained particular fame for its last movement, the "Rondo alla turca." That movement took its inspiration from the popularity of quasi-Turkish music in Vienna, a fashionable form already exploited by Mozart in his German singspiel, Die Entführung aus dem Serail (The Abduction from the Harem) of the previous year. The Rondo includes a march-like B section in a major key with rolled block chords that evoked the drums of the Turkish Janissary bands, ancestors of the modern marching band. Some commentators have also heard echoes of the opera in the opening movement, which, uniquely among Mozart's sonatas, is a set of variations. Its lilting theme one of the composer's most memorable inventions. The central movement is a Minuetto in the tonic key of A, with a central trio section in D, making the sonata also unique in Mozart's output in that none of the three movements is in sonata form. Along with its two companions, the A major Sonata was published in Vienna by Artaria in 1784, rapidly attaining a popularity that has persisted until the present day. As with so many of Mozart's works, it offers much for both Kenner and Liebhaber, connoisseurs and mere lovers. Its Turkish element places it among the first pieces of music in the European tradition to show any kind of non-Western influence. Beyond that, it offers a greater-than-usual complement of unforgettable Mozartian melodies."
- Brian Robins
I dedicate this video to someone special, of which I can't publicly give their name.
0:00 - Intro
0:05 - I. Andante grazioso
1:58 - (Var. I)
3:26 - (Var. II)
4:58 - (Var. III)
6:48 - (Var. IV)
8:44 - (Var. V)
10:35 - (Var. VI)
11:56 - II. Menuetto
17:06 - III. Alla turca - Allegretto
Composer: Wolfgang Amadeus Mozart
Composed: in Salzburg, 1783
Album: "Mozart: Complete Piano Sonatas, Vol. 3"
Pianist: Walter Klien
"The Sonata in A is the second of three sonatas now established as likely to have been composed during 1783, perhaps during the period Mozart and his wife Constanze spent in Salzburg in the summer months of that year. This was the occasion on which the composer introduced his new bride to his father Leopold. Mozart clearly intended this trio to form a group, numbering them from one to three. They were almost certainly composed with his Viennese pupils in mind, teaching forming one of Mozart's principal sources of income during his early years in the Austrian capital. The present sonata has gained particular fame for its last movement, the "Rondo alla turca." That movement took its inspiration from the popularity of quasi-Turkish music in Vienna, a fashionable form already exploited by Mozart in his German singspiel, Die Entführung aus dem Serail (The Abduction from the Harem) of the previous year. The Rondo includes a march-like B section in a major key with rolled block chords that evoked the drums of the Turkish Janissary bands, ancestors of the modern marching band. Some commentators have also heard echoes of the opera in the opening movement, which, uniquely among Mozart's sonatas, is a set of variations. Its lilting theme one of the composer's most memorable inventions. The central movement is a Minuetto in the tonic key of A, with a central trio section in D, making the sonata also unique in Mozart's output in that none of the three movements is in sonata form. Along with its two companions, the A major Sonata was published in Vienna by Artaria in 1784, rapidly attaining a popularity that has persisted until the present day. As with so many of Mozart's works, it offers much for both Kenner and Liebhaber, connoisseurs and mere lovers. Its Turkish element places it among the first pieces of music in the European tradition to show any kind of non-Western influence. Beyond that, it offers a greater-than-usual complement of unforgettable Mozartian melodies."
- Brian Robins
I dedicate this video to someone special, of which I can't publicly give their name.
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Відео
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One of my favorite Mozart Symphonies.
1:10
Grazie a mozart e che dio ti accolga in paradiso amen
Non tutti capiscono la tua grandezza unico
Your channel's awesome
2:00 🤩
Fantastic quality on the score! Keep up the good work!
Pamplineo
Nice😊😊😊
Is there another version of this? At 12:24 (and other times) the cello plays pizzicato for two measures even though it is not indicated in the score. Was this an idea of the cellist.... to make this change?
It must be this particular cellist, for the pizzicato change was not played by THIS cellist: ua-cam.com/video/DAtgVw5y1Vo/v-deo.html
It's probably the interpretation of the cellist. I have looked at the first edition of the trio on IMSLP and there were no pizzicato markings. It seems to be the case with other scores of the piece as well. (Assuming there's no historical background to the interpretation.)
I like this
A great piece of music by Mozart!
Only those with alzheimer's disease would have difficulty in remembering how the music went the first time through: the rest of the population need not have it repeated, unless the performer was going to do anything different the next time round. Why not add a few ornaments to make it more interesting, or perhaps some varied dynamic or phrasing. Slickly-played but competent, but repeats are dull.
Your name checks out. Don't act like you know Haydn's music better than Haydn. He put a repeat on the page, so one should repeat it. There's no need to speculate on the usefulness of the repeat; at least not for us. That consideration was done by the composer. Quite convenient for us interpreters
@@WilliamDurrant-ll8xy You don't get it!! - - - - - IF the performer is going to repeat an area, then it should NOT sound like a carbon-copy of the first time!!!!!!!!!! DO SOMETHING DIFFERENT THE SECOND TIME! Change the dynamics, or the phrasing, or the speed in some areas, or add ornaments, which is what performers did in Haydn's day!
O trio mais singelo de Mozart, ainda bem, escuto sempre, tenho diversas interpretaçôes.
sublime!