W. A. Mozart Piano Sonata No 1 C major, Ivo Sillamaa, fortepiano
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- Опубліковано 2 жов 2024
- W. A. Mozart Piano Sonata No 1 C major, Ivo Sillamaa, fortepiano.
Fortepiano by Chris Maene after Anton Walter. Copy of instrument from 1795.
Recorded 20. dec 2014 Gate Tower Tallinn
I like! The ornamentation becomes part of the line not an add on!
Because adding ornamentation was an task of the Baroque musicians and not a task of the composers of those times. Classical ones did not like this. Thus the composers wrote out his own ornamentations on the staff because they considered many musicians had the proper skilss for ornamenting.
Much better listening to Mozart's sonatas played on the pianoforte. That is HIP (Historical Informed Perfomance).
Beautifully played. I enjoyed it very much :)
BRILLIANT !! absolutely brilliant ! BRAVOOOO ! I am really amazed.
Ignore this
1st movement 0:09
2:47
2nd movement 5:04
8:06
3rd movement 13:13
14:50
name of movements?
Not really
The parts where it says “1st movement” is the beginning of the first movement.
After that, there is another time stamp that has no description to it.
In this recording, there are repeats, and the time stamp without any description is to show where to go after listening to the first part of the going-to-be-repeated-again passage.
Allegro
Andante
Allegro con rondo
This is gold 🤩🤩🤩🤩
Alan Tyson’s paper-studies in the mid 1970s reveal’d the paper-type that Mozart us’d for the Sonata in C Major J. 330 was compos’d in Feb-Mar 1783 and published with 5 others written around the same time by Artaria of Vienna in 1784-previously bas’d on stylistic grounds it was thought to have been compos’d in Mannheim or Munich in late 1777 or in Paris early 1778. It is only through recordings like these on original instruments (or ‘better than original professionally-exact copies’ of such klaviers from the 1780s and 1790s) tun’d at Mozart’s own pitch in the 1780s in Vienna (A=432 Hz, not today’s ‘Very Sharp A= 440 !) especially if the sensitive performer (like this one) is not afraid of intelligent period-bas’d embellishments whenever necessary
Ozuna, naa is a prank, is really amazing
osunaaa
This was wonder full!
những bản nhạc rất hay tiếng đàn nghe rất êm tai ấm áp hay tuyệt vời
marvellous instrument and marvellous player
K. 330 !!
This is not K 330. That is Sonata No 10.
It appears that this Sonata is K 279.
Sorry Clive - I had posted notes on K. 330 (1783) by mistake on this YT video ! I wish the ‘original poster’ would stamp the latest Koechel listings on it !!! The background for this present energetic sonata in C (KE 189d = K. 279) is a little murky since it was not physically publish’d (as far as we know for sure) until Constanza sold the tights to a group of six (K. 279 thro’ K. 284 whose key signatures seem to follow the circle of fifths) - altho’ he suggests in a letter to us father that a Paris ‘engraver’ had already brought them out before 11 Sept 1778 (‘I shall have my 3 klavier concerti engrav’d by the same firm that brought out my six difficult sonatas...) Hmmm - makes you wonder if he embellish’d the truth with his father as he had done throughout his Paris sojourn !)...forensically, all we can say for sure is that the first two pages of the opening Allegro in C was set down on Salzburg papers; the rest of the score was written on Munich local paper types according to Alan Tyson-Mozart certainly brought a quantity of 4-sided sheets with him from Salzburg to judge from the score of La Finta Giardiniera-probably written after the premiere of that opera on 13 Jan 1775 at the Salvatore theatre in Munich. This particular (‘first of a set of six’) C-Major Sonata was later referr’d to by M. later as one of ‘my difficult Sonatas’ and Leopold remark’d on the unexpected changes of key in the opening movement; he must have completed all six by the time he left for Mannheim-Munich-Mannheim-Paris at the beginning of October 1777 (before the weather both in Europe & North America turn’d abnormally cold, which eventually led to his mother’s death in Paris in July 1778); Koechel assum’d K. 279 was compos’d in Salzburg during the summer of 1777 and brought with him to Mannheim where in a letter back home he wrote to his father on 4 Nov 1777 that he had play’d all ‘four of my difficult sonatas’ for Cannabich & his daughter Rosa-but these 4 Sonatas were probably among the K. anhang set K. Anh 199, 200, 201 & 202...(?)-It is becoming increasingly evident that (at least at times...) Mozart was not as truthful about his musical output with his father during this sojourn taken with his mother (Leopold us’d to criticise his talented son with ‘long bouts of indolence & laziness’ - which is fairly typical of creative geniuses who need time in between such works to plan new ones ... ah well, we shall never really know...but I hope this sets the record a little straighter, Clive !!!!
precious sonata!