Für mich persönlich einer etwas älteren Generation angehörend, ist Friedrich Gulda, einer der besten und grössten Interpreten, der Mozart Sonaten, Anschlag und singend wie er die all die Schwierigkeiten meistert einer Mozartsonate gerecht wird. Einfach ein Könner dieser Mozartsonaten. Diese Leichtigkeit und doch perlend, so wie Mozart sich das sicher vorgestellt hat, seine Sonaten, auch nach über zwei Jahrhunderte tönen sollten. Einfach ein Meister des Klanges und Wiedergabe, die unser Herz immer aufs Neue erfreut.
he was - as many great artists - a madman - they had to put him into the kitchen for eating - because his table manners - did not exist - but his musical taste is very exquisite - thanks Fritz - you are the best - because our genetica is austrian - we really do understand that crazy genious of Wolfgang - power to the good and fresh and strong music - musical spirit at is best - thank you for posting
One could say that he is revolting and exceeding the normal artistic freedom in classical sheet music, but I really like this interpretation; it is so fresh, crisp and youthful. And in that sense, it has the impact that Mozart himself had in his own time. And to the critics; if you wanna hear something els - well, then just do so. No need to criticise what is beyond your taste level
This is my favourite version of K. 332 ever! I adore Mozart as a composer but never much cared for the sonatas because they are always treated too delicately for my taste. Thanks to this more muscular and percussive rendition by Gulda, I now love to play K. 332 and I do it much the way he does, complete with improvisation on the repeats. I suspect that Mozart would approve!
And lest anyone think that I am just a blind admirer of Gulda's, he rushes far too much in the first movement of the K. 457. I sill admire the muscularity of the performance, however.
Sonata in F (K332): I. Allegro - 0:05 II. Adagio - 9:16 III. Allegro Assai - 13:43 Fantasy in Cm (K475) - 22:42 Sonata in Cm (K457): I. Molto Allegro - 32:55 II. Adagio - 39:52 III. Allegro Assai - 46:14
Love how he plays in hats and sweaters. LOVE it! No black tie crap for him! You either like it, or don't show up. The place is PACKED! It's all about the playing for Friedrich Gulda -- Love it: Pianist with an attitude... lol ; )
It is so full of life, so close to the moment. Life expresses itself through music. I dont care about thinking on interpretation. Everyone has to find his own way to that clue. Gulda found it. In his way. And gave us this gift.
a true master at the keyboard. Love the sound Gulda makes with Mozart -- just right in my ears as classically crisp and wonderfully articulated but with feeling and never mechanical.
Mozart if he can hear this will be thankful to Gulda for having removed all this old canvas of superstitions and (phony) rokkoko galanterie from his expressive & radical music. Gulda may not be the most delicate but he gets every plot and every phrasing right as it must have been meant. As a a result early Mozart sonatas become at least as strong as early Beethoven ones.
Indeed, Gulda's Mozart positively rocks, because it's mostly about rhythm. It's not about Gieseking's rippled symmetry, Schiff's ornaments (although Gulda's no slouch in this department), Krauss's angular harmonic stresses or Arrau's operas in miniature. Gulda's unswerving, atomically steady tempi and occasionally downbeat-oriented phrasing never sound mechanical, for two reasons. One, his inner rhythm always conveys a sense of swing in that it's firmly grounded yet forward moving. Two, Gulda's left hand is his trump card. Listen anywhere, really, and notice how much variety the pianist gleans from the composer's endless Alberti basses, how he brings out important melodic elements within the figurations, or how he gets the most dramatic (as opposed to merely theatrical) mileage out of signpost bass octaves without a trace of contrivance or Gouldian exaggeration. At long last, we have Mozart piano sonata slow movements that you can slow-dance to, if that's your desire. More and more details rise to the surface with each rehearing, although it's best to absorb Gulda's Mozart in small doses - just one or two sonatas at a time. A stimulating release.” Gramophone Classical Music Guide, 2010.
grande gulda! - mi piacevi un tempo (30 anni fa) e mi piaci tuttora nonostante i miei gusti musicali si siano evoluti - grazie per aver dato freschezza e vitalità (ascoltabilità) alla musica classica
No sé si cada persona del público que estuvo allí son hoy conscientes de lo afortunados que fueron. Ir a ver y oír en vivo a Gulda interpretar a Mozart. Algo único en la vida.
Was für ein begnadeter Pianist und ganz ohne alberne Fratzen. Der Ausdruck liegt sowas von in seinen Händen, er läßt die Finger über die Klaviatur nur so tanzen. Mozarts Charakteristik vieler Läufe wird hier fantastisch interpretiert
I love the piece, even though some of the Mozart tunes aren't to my favour. The pianist played wonderfully, and it was as if to me that piece was note perfect, and I could easily tell all the ornamentations and dynamics were used. What I loved about the pianist in this part is how well the rhythms are played. In my personal experience, I have always found controlling my fingers to that degree of accuracy the hardest thing. One of my favourite pieces I've heard, and I will treasure it.
The second piece, beginning at 22:43, is Fantasia in D minor (the same key what Mozart's darkest piano concerto and Requiem mass). It has Köchel number 475, not 375, which belongs to Serenade. Mozart finished Fantasia on 20 May 1785, about 7 months after composing Sonata C minor (KV 457). The two are often played together as in this recording. Both were written for Mozart pupil, Miss Therese von Trattner, with whom Mozart must shared more than just ideas on how to play piano. For this reason his wife, Konstanze, was not impressed when he played Fantasia for her. Not a single note spills over. Gulda seems to understand Mozart music better than most of his contemporaries.
Oh dear, the mistakes are a little distracting, but I like the "singability" of this interpretation. And who's to say that Mozart might not have played it this way a couple of times? Interesting interpretation and one that makes me want to try it for myself. As for a " correct" tempo: Does anyone have a recording of Mozart or his students performing this? No? Then how do you know that any one performer's interpretation is the "true one"?
he is one of the very best, he plays with his soul. he unities the music with himself, soul, music and spirit. El es uno de los mejores, el se unifica con el mismo , alma,musica y espìritu de ejecuciòn.
Worth listening, really worth: but too many freedoms with regard to the respect of the original score in my humble opinion. Still, excellent talent, his scales and vibratos are awesome. Well, yes, I think Mozart would like it a lot...!
Please fix the heading for this posting. The selections are: Sonata in F Major, K. 332 Fantasie in C Minor, K. 475 (not 375) Sonata in C Minor, K. 457 I had wondered what that 375 was, as I didn't know any piano sonata of Mozart's with that K number. Then I realized what it was.
Unvergesslich! Gulda und Mozart, das war (und bleibt..."fast"...) kongenial. Wahrscheinlich streiten sie sich jetzt im Himmel über Tonarten, Rhythmus und viele weitere agogische Ausdrucksmittel!
beautiful music. Sadly, played by Gulda in a somewhat agitated, hurried manner. As a result every now and then errors/mis-hits, which may be acceptable in Beethoven or Liszt with denser scores, but not in Mozart, where such errors are too audible with the much more transparent and filigrane score.
Also er spielt teils schlampig, ein Stück oberflächlich und armt Mozart vermeintlich nach, was aber meiner Einschätzung nach ein unguter Interpretationsansatz ist.
Für mich persönlich einer etwas älteren Generation angehörend, ist Friedrich Gulda, einer der besten und grössten Interpreten, der Mozart Sonaten, Anschlag und singend wie er die all die Schwierigkeiten meistert einer Mozartsonate gerecht wird.
Einfach ein Könner dieser Mozartsonaten.
Diese Leichtigkeit und doch perlend, so wie Mozart sich das sicher vorgestellt hat, seine Sonaten, auch nach über zwei Jahrhunderte tönen sollten.
Einfach ein Meister des Klanges und Wiedergabe, die unser Herz immer aufs Neue erfreut.
Was ein Schmarn
Welche Sprache soll denn das sein?
Ich glaube das selbe...Sie haben die exakte Wörte geschrieben !!
Sie haben die exakte Wörte geschrieben...Er ist eine der grosste interpreten von Mozart...und Bach !!
youtu.be😮😅😮😮😮😅/DPJL488cfRw?si=68Hw46WmdFcFLJJi@alexanderurあban4637
he was - as many great artists - a madman - they had to put him into the kitchen for eating - because his table manners - did not exist - but his musical taste is very exquisite - thanks Fritz - you are the best - because our genetica is austrian - we really do understand that crazy genious of Wolfgang - power to the good and fresh and strong music - musical spirit at is best - thank you for posting
One could say that he is revolting and exceeding the normal artistic freedom in classical sheet music, but I really like this interpretation; it is so fresh, crisp and youthful. And in that sense, it has the impact that Mozart himself had in his own time. And to the critics; if you wanna hear something els - well, then just do so. No need to criticise what is beyond your taste level
... or reception level !
As has been said, "There's more than one way to skin a cat."
This is my favourite version of K. 332 ever! I adore Mozart as a composer but never much cared for the sonatas because they are always treated too delicately for my taste. Thanks to this more muscular and percussive rendition by Gulda, I now love to play K. 332 and I do it much the way he does, complete with improvisation on the repeats. I suspect that Mozart would approve!
And lest anyone think that I am just a blind admirer of Gulda's, he rushes far too much in the first movement of the K. 457. I sill admire the muscularity of the performance, however.
Шикарная соната!
Sonata in F (K332):
I. Allegro - 0:05
II. Adagio - 9:16
III. Allegro Assai - 13:43
Fantasy in Cm (K475) - 22:42
Sonata in Cm (K457):
I. Molto Allegro - 32:55
II. Adagio - 39:52
III. Allegro Assai - 46:14
love you
Gulda’s Mozart is never boring. Yet, not only emotional but also highly rational. He must be a very cool and fun person.
He IS not! He WAS! He took off to heaven on 27th of January 2200.
@@metteholm4833 2200?
He certainly wasn't a very rational person
18:06 18:07 @@metteholm4833
@@JMR181His music was though.
Love how he plays in hats and sweaters. LOVE it! No black tie crap for him! You either like it, or don't show up. The place is PACKED! It's all about the playing for Friedrich Gulda -- Love it: Pianist with an attitude... lol ; )
Very wonderful. I want to listen to it over and over again.
Mozart would undoubtedly have smiled at this performance. Bravo Herr Gulda
It is so full of life, so close to the moment. Life expresses itself through music. I dont care about thinking on interpretation. Everyone has to find his own way to that clue. Gulda found it. In his way. And gave us this gift.
a true master at the keyboard. Love the sound Gulda makes with Mozart -- just right in my ears as classically crisp and wonderfully articulated but with feeling and never mechanical.
Mozart if he can hear this will be thankful to Gulda for having removed all this old canvas of superstitions and (phony) rokkoko galanterie from his expressive & radical music. Gulda may not be the most delicate but he gets every plot and every phrasing right as it must have been meant. As a a result early Mozart sonatas become at least as strong as early Beethoven ones.
So apt, your comparison between these sonatas and Beethoven's.
Exactly! ❤
Indeed, Gulda's Mozart positively rocks, because it's mostly about rhythm. It's not about Gieseking's rippled symmetry, Schiff's ornaments (although Gulda's no slouch in this department), Krauss's angular harmonic stresses or Arrau's operas in miniature. Gulda's unswerving, atomically steady tempi and occasionally downbeat-oriented phrasing never sound mechanical, for two reasons. One, his inner rhythm always conveys a sense of swing in that it's firmly grounded yet forward moving. Two, Gulda's left hand is his trump card. Listen anywhere, really, and notice how much variety the pianist gleans from the composer's endless Alberti basses, how he brings out important melodic elements within the figurations, or how he gets the most dramatic (as opposed to merely theatrical) mileage out of signpost bass octaves without a trace of contrivance or Gouldian exaggeration. At long last, we have Mozart piano sonata slow movements that you can slow-dance to, if that's your desire. More and more details rise to the surface with each rehearing, although it's best to absorb Gulda's Mozart in small doses - just one or two sonatas at a time. A stimulating release.” Gramophone Classical Music Guide, 2010.
+Ricardo Mena Cuevas Óıˇ ÏˇˆÔ˝ÇÏÏˇ¨˝ˆˆÔÔ˜ıÔ◊
Precisely!
Thank You for Being Hateful!
It reminds me to love More!
+Images Oubliées LOL
the rythm and the harmonic depth brought by the lerft hand? No mystery my friends. Gulda was also a jazz pianist
Magical music making by Gulda here, a revelatory interpretation of these classics by Mozart. Thanks for sharing this wonderful recital.
Gulda, para mí, es uno de los mejores interpretes de Mozart. Extraordinario.
Gracias. Clarence Liao.
I feel it's very emotive playing. I've never heard like this before. I'm very impressed.
Wow, very lively! I've never heard Mozart played with such a bounce. I like it.
I want to cry listening to this! Wonderful!!!
I love this performance! Really wonderful!
Merveilleux !!! Merveilleux !!
I love Friedrich Gulda playing Mozart. Very passionated, but not one of the clowns.
No, not one of the clowns, but one of the greats. I love him too...
What a young, modern and refreshing Mozart!
For Gulda - wherever You are now - Thank You for being such a Genius !
❤️
grande gulda! - mi piacevi un tempo (30 anni fa) e mi piaci tuttora nonostante i miei gusti musicali si siano evoluti - grazie per aver dato freschezza e vitalità (ascoltabilità) alla musica classica
Great playing!! Great artist!
Fantastic and surprising performance !
I LOOOOOOOOOOVEEEEEEE IT !!!!!!!!
MOZART & GULDA ! ! !
No sé si cada persona del público que estuvo allí son hoy conscientes de lo afortunados que fueron. Ir a ver y oír en vivo a Gulda interpretar a Mozart. Algo único en la vida.
Esos aplausos tras el primer movimiento de la K.332 dan idea de qué público era.
I love the Fantasia. Mozart goes out of the box.
-- F.Gulda interprétait Mozart comme personne. Concert exceptionnel. --
Amazing talented!!! Thank you!!
A UNIQUE MASTER ! - This is Mozart music as it should be played.
Was für ein begnadeter Pianist und ganz ohne alberne Fratzen. Der Ausdruck liegt sowas von in seinen Händen, er läßt die Finger über die Klaviatur nur so tanzen. Mozarts Charakteristik vieler Läufe wird hier fantastisch interpretiert
I love the piece, even though some of the Mozart tunes aren't to my favour. The pianist played wonderfully, and it was as if to me that piece was note perfect, and I could easily tell all the ornamentations and dynamics were used.
What I loved about the pianist in this part is how well the rhythms are played. In my personal experience, I have always found controlling my fingers to that degree of accuracy the hardest thing. One of my favourite pieces I've heard, and I will treasure it.
espetacular o pianista que mais eu gosto
Получила истинное удовольствие! Браво!
Mozart and Gulda! ❤
GRANCLASSE ,MERAVIGLIOSA MUSICA ...
¡MARAVILLOSO!
I've always enjoyed Gulda's playing and this one is no exception.
Gracias
che grande interprete! Gulda è stato veramente un talento assolutamente originale!
Одна из лучших сонат!
EXCELLENT....
The second piece, beginning at 22:43, is Fantasia in D minor (the same key what Mozart's darkest piano concerto and Requiem mass). It has Köchel number 475, not 375, which belongs to Serenade. Mozart finished Fantasia on 20 May 1785, about 7 months after composing Sonata C minor (KV 457). The two are often played together as in this recording. Both were written for Mozart pupil, Miss Therese von Trattner, with whom Mozart must shared more than just ideas on how to play piano. For this reason his wife, Konstanze, was not impressed when he played Fantasia for her. Not a single note spills over. Gulda seems to understand Mozart music better than most of his contemporaries.
Stan, sorry to correct you, the Fantasia he plays is in c minor K 475. The Fantasia in D minor is K 397 and not played here. Cheers
best played
Изумительно!
Beautiful!
Hermoso!!
Oh dear, the mistakes are a little distracting, but I like the "singability" of this interpretation. And who's to say that Mozart might not have played it this way a couple of times? Interesting interpretation and one that makes me want to try it for myself. As for a " correct" tempo: Does anyone have a recording of Mozart or his students performing this? No? Then how do you know that any one performer's interpretation is the "true one"?
K332 has to be the best of the sonatas... certainly the first movement
he is one of the very best, he plays with his soul. he unities the music with himself, soul, music and spirit. El es uno de los mejores, el se unifica con el mismo , alma,musica y espìritu de ejecuciòn.
Un Mozart dynamique et vivant sous les doigts magiques de Gulda toujours surprenant.
Nos últimos anos de sua vida, Gulda repetia com prazer que, após sua morte, seu maior desejo seria tocar a quatro mãos com Mozart numa nuvem rosa.
Восхитительно!
Gulda was a wonderful crazy!
Notes and flourishes are being added that do not appear in the sheet music. Gulda is allowed to do this -- the rest of us mortals shouldn't try this.
What has compelled you to make such an awful statement? Gulda is trying to show you the way! Stop being a reproducer and become a creator.
Oh pish posh! otonanoC makes a perfectly valid & decent comment.
Este pianista executa muito bem as Sonatas de Mozart e encanta-me ouvi-lo.
Che roba bella grazie sandro
MUCHAS GRACIAS
this guy added many trills on the repeat. :D
Hermoso final.
Una maravilla
Even though it's fast playing, It is amazing that the change in tone is rich :)
Душевненько так
It is the real thing!!!
Моцарт это вперёд в будущее!Слышится Бетховен"(Аппасионата"1 часть)
I like his interpretations. No wonder Beethoven wanted to study with Mozart, and was bummed he got stuck with Hayden.
А 27 концерта Моцарта вообще нет на UA-cam, а Гульда, я знаю его исполнял!
То же касается и 25-го концерта!
bars 31-33 of kv 332 (and corresponding) are really tricky. 😮
I guess 250 years ago Mozart played like this.
Worth listening, really worth: but too many freedoms with regard to the respect of the original score in my humble opinion. Still, excellent talent, his scales and vibratos are awesome. Well, yes, I think Mozart would like it a lot...!
I strongly suspect that Mozart would improvise far more than Gulda does on the repeats.
super Gulda...
Please fix the heading for this posting.
The selections are:
Sonata in F Major, K. 332
Fantasie in C Minor, K. 475 (not 375)
Sonata in C Minor, K. 457
I had wondered what that 375 was, as I didn't know any piano sonata of Mozart's with that K number. Then I realized what it was.
De cómo un loco desatado puede tocar maravillosamente (aunque demasiado rápido, sobre todo en la K.332) a Mozart.
Unvergesslich! Gulda und Mozart, das war (und bleibt..."fast"...) kongenial. Wahrscheinlich streiten sie sich jetzt im Himmel über Tonarten, Rhythmus und viele weitere agogische Ausdrucksmittel!
Friedrich Gulda, a genius in music!
Ob er heute mit WA-M zusammen spielt? Who knows..:-)
Ich hoffe doch sehr! Verdient hätte er es.
WHY DOES AN INCOMPREHENSIBLE ADVERT APPEAR AT THE BEGGINNING OF THE SLOW MOVEMENT?
excelente,saludos
Никак не могу найти запись Фр. Гульды 21 концерта Моцарта целиком!
NOBODY has answered my previous comment . WHY does an INCOMPREHENSIBLE Russian advert appear from 9.22 to 9.50? Does anyone else see it?
I also can see it, and didn't understand. But as you say: It also disappears.
Buy it and it will disappear!
Rich performance, comes from devilish technique, finally looks easy...
THe last one is not K.457 but K.475(Fantasie).
Please correct.
EES UN MAESTRO DEL TECLADO
he sometimes tries to improvize the notes Mozart has hidden masterfully
Слушатели из какой деревни?..
His left hand at 17:51 😂😂😂
KV 475 not 375
Think Wanda Landowska has the corret tempo - also she, to m,e seems to play without the sustain pedal - I could be wrong.
someone a clue o the maestro his glasses ? thx
ah ! Friedrich !
リリー・クラウスやクララ・ハスキルも素晴らしいが、グルダのモーツアルトは格別です。
Inimitable interpretations, never heart better ones. Still miss this violent man.
Without the velvet gloves. That's how I like it. Check out Sokolov, oof!
Le " plus beau doigte" c celui de fridrich gulda
誠眾 K332 中之極致也！
beautiful music. Sadly, played by Gulda in a somewhat agitated, hurried manner. As a result every now and then errors/mis-hits, which may be acceptable in Beethoven or Liszt with denser scores, but not in Mozart, where such errors are too audible with the much more transparent and filigrane score.
Thank you for sharing such wonderful video! Watch and share more on www.youthsymphonymedia.com/
375?? Should not be a piano sontata at all
Way to much pedal.
But he has a cool hat.
Also er spielt teils schlampig, ein Stück oberflächlich und armt Mozart vermeintlich nach, was aber meiner Einschätzung nach ein unguter Interpretationsansatz ist.
too much pedal