Mozart/Grieg - Fantasy in C minor, K.475 (1785/c.1877) arr. for 2 pianos
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- Опубліковано 2 тра 2024
- Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era.
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Fantasia in C minor, K.475 (1785)
Dedication: Therese von Trattner
arranged for 2 Pianos by Edvard Grieg, E.G. 113, No. 2 (1876-77)
to John Paulson (1851-1924)
Sviatoslav Richter & Elisabeth Leonskaja, piano
Fantasia No. 4 in C minor, K. 475 is a composition for solo piano composed by Wolfgang Amadeus Mozart in Vienna on 20 May 1785. It was published as Opus 11, in December 1785, together with the Sonata in C minor, K. 457, the only one of Mozart's piano sonatas to be published together with a work of a different genre.
Starting in the key of C minor, the piece is marked Adagio but then, after a section in D major, moves into an allegro section which goes from A minor to G minor, F major, and then F minor. It then moves into a fourth section in B♭ major marked Andantino and then moves to a più allegro section starting in G minor and modulating through many keys before the opening theme returns in the original key of C minor. Most of the music is written with no sharps or flats in the key signature and uses accidentals-only the fourth section, in B♭ major, is given a key signature.
When Grieg added an accompaniment for a second piano to Mozart’s keyboard sonatas, he did it primarily with teaching in mind. It was apparently common practice in the 1880s for teachers to accompany their pupils on a second piano (my own teacher was still perpetuating the custom 80 years on). But the resulting compositions soon found their way into the concert-hall where, according to Grieg, “the whole thing sounded surprisingly good”.
And so it does today. In trying to “impart to several of Mozart’s sonatas a tonal effect appealing to our modern ears” Grieg left a telling little document or two on just what those late nineteenth-century Norwegian ears expected.
So glad to know these marvellous arrangements existed for the great C minor fantasia. Thank you ❤ I m actually studying the K475 at the moment. can’t stop marvelling at it
I was waiting for this video! Perfect fusion of the Classical era and Romantic era.
A symphonic arrangement of a wonderful classic and yet very insightful vision by Grieg. Love his arrangements of the Sonatas.
Thank you very much for this precious upload! Very interesting score, where one can hear two different centuries clashing into each other.
Ludwigesque chords are quite apparent in the Edvardian Amadeisms.
Mozart himself wrote at least five sonatas for piano, four hands, and one for two pianos. It's interesting to compare Grieg's textures with Mozart's - each very different!
10:44 Wow! :)
Would love to hear Mozart's 27th symphony, you always share wonderful recordings.
I wish you a nice week Bartje.
I like the dialogue established between two musical minds defying space and time... well, more "one way" but still worth the effort.
Thank you very much! I saw the CD in shops but never heard it. It must be one of Richter's last recordings, right? Two (half-joke) considerations: after a lifetime of faithful-to-the-text performances, he accepted to do this one! Ralph Kirkpatrick wrote that he used to play a frequent "continuo" for the student at lessons (it must have been great). Jan Wijn used to do it in many moments for us, with evident encouraging and humorous intentions (I do it myself sometimes, trying not to bother). The funny thing about Mozart-Grieg would be that, after that inmodest "accompaniment", the student could fear to do the naked original!
08:08 Beethoven's Heroica 😂😂
yes....YES! BRAVO from Mexico!
Wunderschöne Intepretation dieser perfekt komponierten und fein arrangierten Fantasie im veränderlichen Tempo mit kräftigen doch eleganten Klänge beider unvergleichlichen Klaviere. Der intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrlich ergreifend. Einfach wunderbar!
This is just awesome! I know this Fantasie so well, having been playing it since my teenage years, and I am astounded at what Grieg hears in it and brings out of it. I have to say, the allusion to Tristan at around 7:40 is perhaps a bit much though 😂
Bellissimo ❤
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tottaly rock
Je me demande si Grieg considérait que la version originale était celle du pauvre, doté d'un seul piano.
1！
Mmhm
I understand the practice but I find the additional piano to be wholly unnecessary and mostly detract from Mozart’s work. There are moments where it works well but not here for me.
That is why there is always the original. I find this gives insight into Grieg's compositional processes and ideas.
Especially when the piano's are not tuned the same.
Non sminuisce nulla, è un abile "divertimento" nel gusto del suo rielaboratore. Qui conta più Grieg che Mozart.
I feel like this tramples all over the original. Not that great when played with over the original Mozart piano, but could be successful if the original was orchestrated instead?