My girlfriend, the love of my life, died 3 months ago at the age of 22, suddenly. I don''t believe the human brain is capable of coping with such a radically event. Still this sonata (and many more music like this) helps me dealing with the fact life is such a wonderful but randomly phenomenon. This is the last (classical) piece of music we've listened to. Thank you so much, Wolfgang. I hope you, my love and so many others have found piece in the afterlife, for you deserve this. (excuse me for my bad English
music, I've seen throughout my life, is away to inner peace when their is inner turmoil. My sincerest condolences and may this help you find peace again.
Recordings like these make me want to go to the piano and practice until I get it just right for my taste. I don't care if the recording in this video is in D-flat major or whatever and tuned down a bit. It actually sounds much better/ way better than other recordings i've listened to in this particular key. In fact, now that I think about it, this is the BEST interpretation of the sonata i've listened to so far. Whoever played this, HATS OFF TO YOU for such a magnificent performance! I would love to play it like this as well! The starting of the recapitulation in the allegro mvt sounded like pure bliss, magic, serenity and pearls to my ears. The allegro is amazing in my opinion. Very, very amazing indeed. Just the right amount of clarity and playfulness for my taste. The andante, in my opinion, is out of this world/otherworldly as if the fingers playing it are feeling a sort of mystical magic/energy in them as they play it and having such clarity, precision and balance in their fingers, giving them the feeling that through these notes, keys and dynamics, they are touching the composer's heart and many others in ways that can be described as "unbelievable, indescribable and unfathomable", allowing them also to feel the poetry produced from their fingertips and to experience the music in a way that can touch them deeply as well and the hearts of millions. Through these notes, we all can find a way to touch a person's heart and make them weep and yearn for more. But merely describing the beauty of it in words is absolutely pointless in my opinion. But this was just my honest opinion. I had to say it. Could not contain it. Had to let it out at some point. It was what I felt at the time I wrote this comment whilst listening to the andante itself. This is one of the main reasons I love Mozart's piano sonatas. I hope you all enjoyed reading this and may I wish you all a good day. (P.S. The Rondo is very child-like and playful in my opinion, but in a musically beautiful way. Who finds so as well ?)
It’s not out of tune it’s just when Mozart played this it wasn’t the same instrument it was adapted in to piano also it was composed not on the same hertz
This is perfectly played. I dislike when it is played too fast. The pace of the allegro here is perfect. Some pianists play it at "Usain Bolt" pace and it ruins the relative beauty and simplicity of this wonderful piece.
I totally agree with you - even a bit slower would work well still I believe - actually I dont like my city - its quite dull and lots of arrogant people -. but I am so proud I live in the same city where Wolgang the genius was born jeje
***** Currently, it is an exam piece for ABRSM Grade 6 in the UK (just the first movement), and Mozart must have had REALLY high standards to call that a 'beginner'
+DefinitelyNotOfficial you can't ignore the rests mozart put in the piece. It is pretty hard to lift your fingers at the right time. Also the speed at which you're supposed to play it at is quite fast,and it is quite easy to hear the pianist make a mistake.I think Grade 6 is a good grade for the piece it is just as hard as other grade 6 pieces
It amazes me Mozart wrote something so simple and easy and yet in the same year, also wrote a very complex and dazzling work such as the C major Symphony "Jupiter" K.551, which is only 6 K numbers away from this. Sometimes he wrote something very 'Beethovenian' such as the C minor Concerto K.491, other times he wrote something very 'Chopinesque' such as the A minor Rondo K.511. This is the best thing about Mozart, he's so multi-dimensional.
It's not "played" in D flat major, it's still played in C major, but for whatever reason the audio is transposed up by a half tone (C -> D flat). To be honest it sounds much nicer that way, though probably only people with an absolute pitch are able to really tell the difference.
I'm not musician with nothing more than high school knowledge of musical theory, and I could already tell the difference of pitch. It does sounds nicer but the original pitch will always be better for me.
I like it but I can fully understand why people don't, it's kind of "boring precise adult music", I think elementary school children would fall asleep when listening to this.
Thank you for posting this. Fantastic. It helps indeed with the difficulties of life. Such beauty makes life worth living, despite all the pain it also carries.
An "easy sonate". Learning to play that takes months and months, every day playing 4 hours....so that you become a ghost....you forget the color of the sun.
Yahya Mhirsi Maybe because she's stupid. It's funny how you have to mention her ethnicity. I have a physics lecture in a bit by my white physics professor.
Shakespeare well I did mention her ethnicity because Piano teachers at my music university have different ethnicities and everyone agrees that she's the best one :) Calling her stupid without knowing her makes you sound so stupid.. And the fact that this piece looks easy for you compared to other pieces doesn't really make it easy, because sometimes even though you have very good technics you can't play well a piece that doesn't need a lot of technics but more emotions and passion :) Plus, Mozart never called this sonata "Easy Sonata", someone, we don't even know who it is did, so if Mozart called it Sonata K545, you should call it like that :) Have a nice day!
Yahya Mhirsi No, not really. You mentioned her ethnicity because you wanted to feel superior to all non-Asian people. I only suggested that she's stupid, and perhaps she is given that she considers a composition of this caliber to be difficult. Try Chopin's Revolutionary étude, Fantasie Impromptu or Korsakov's Bumblee. I also guess you've overlooked the fact that Mozart was white, and Bartolomeo Cristofori was also white. But, you have to build your self-esteem somehow, I suppose. I dont think that I need to go into how nearly every classical composition was crafted by a European, except for those created by Scott Joplin. So, I think that the white person who played this particular composition by the white person who created this composition on the instrument created by a white person did very well, otherwise, I wouldn't be listening to it and neither would you. Have a good day!
Shakespeare I'm not Asian.. You don't have the right to suppose that someone is stupid like that, unless they explain, I never feel superior to others, maybe I mentioned her ethinicity just because I feel so lucky as she is really an amazing pianist and teacher, I've never had any teacher from my country like her, and I played Chopin so I get you, but that doesn't mean this piece is supposed to be easy though, and I didn't say it's difficult, just it's not easy and it needs a lot of practice, I'm speaking about perfectionism, otherwise anyone could play it :) I don't know why you've said the word white so many times, I'm white too but what do you mean? I didn't get you, I respect all those composers just because of their talent not because they're white or whatever
Mark Levine writes in The Jazz Theory Book that to be a great artist you must have: "Talent (ears, time, a sense of form) Direction (exposure to the right music for you) Education (teachers, mentors) Ambition Number 4-ambition-is perhaps the most important of all. I donʼt mean ambition in the sense to be a star, but in the sense of having a will, desire, and stamina to practice. If you donʼt have this quality, all the talent in the world means nothing." Mozart had the 3 and was the most ambitious musician in the history of music, as Charles Rosen said. What is genius?: the capacity for taking infinite pains.
I think is a fine interpretation. It's the subtleties that make the difference, the undefinable differences in a performance by Artur Schnabel or Maria Joao Pires, as different from each other as they are both"true" to the "meaning" of the language of Mozart. Tempo, speed, pitch...all secondary and good for nothing but pedantic university dissertations.
I agree that it is a very fine interpretation. Subtleties do make a difference, but you are underrating the difference that tempo and speed make. In this reading, at least by my impression, that factor is as near perfect as you can get; at least it exemplifies just how I hear the music, and I'm sure many others as well, as can be seen from the many favorable posted comments. Speed the music up, as is so often done nowadays - this type of music making in my opinion has become a scourge, engendered by the "authentic" movement, whose stated purpose (excuse, if you ask me) is to reproduce and replicate the manner of performance of the composer's own time - and you will at once hear how this sort of change will destroy the exquisite impressions you get from a performance such as in this posting. The music speaks to us today, in a manner that we can all understand and appreciate. What need is there to unearth something that is not in today's mode except for archeological or academic reasons, as you rightly state? When I listen to such a latter type of performance, all that is accomplished as I see it, is to get us to appreciate that much more that we are acclimated to. To sum this point up, tempo and speed is really a very big factor in interpretation. As for the pitch, the only untoward factor I noted here was a slight wavering of the pitch at the very end. That would cause me to suggest that the entire work be reposted with that factor corrected. Remarkable that with this higher pitch we do not feel a faster speed in the music, but I suppose that is because the difference is very small. I will not go into the matter of "authentic" performances on "authentic" instruments, wherein everything is heard to be a half step lower, and thus this sonata would then reach us in B Major in the name of C Major. All I am interested in at this point is to find out the name of the artist who has given us such a marvelous reading of this work.
***** I find no disharmony in anything you are saying....except that I am "underrating the differences that tempo and speed make". I am sorry if my word choice leads you to draw that conclusion. I am no knowledgeable expert in "Music".. My experience is that there are subtle differences in tempo and speed, not only between performers of the same work, but of the same performer of the same work at different times in her or his life . And if his or her "heart" conveys the heart of the work, speed and tempo are secondary. And that, of course, is relative to my own changes in "life" and "heart" So far, Mozart and certain interpreters have stood by me, and my tears of gratitude vouch for my heart. .
Alan Hill Alan, it's the very last sentence in your previous post that induced my response. I understand fully what you're saying, when it comers to "heart." (Sometimes I wish that would apply to creative composition as well as performing!) The definition is a very elusive one and it is a matter of balancing of different factors. Yes, I fully understand what you're saying when according to one's disposition or frame of mind, a different sort of reading might be engendered. No question about that. But in balance, there are certain reasonable limits within which one must remain in order to present a fair idea of what the composer had in mind. These factors are very flexible, which is where differences in interpretation come in, but there is also a matter of making the resultant convincing no matter the means, and to this end one should reasonably expect a degree of coherence so that what is presented can be easily followed. These conditions are so fluid that there is no hard and fast rule about it. The performer may feel the music one way; the listener (assuming a degree of experience in listening) may feel it another way. We all have our listening needs and expectations, and cannot expect to fully satisfied each and every time, and certainly not 100% of the time. But if what the performer turns out is convincing, however relatively close or distant he/she is from the composer, than the result has reached the listener. I guess then you could define it in a sense of emotional understanding and contact, and thus heart. It is a very indefinite factor to try to define, and I don't know whether I have made my point clear. Tempo certainly does play a part - slow or fast. I have my preferences, as have you. We each have a certain expectation of what to obtain from a work of music. True, it is refreshing to listen to another approach totally knew to us, especially if the performer has managed to convince us of its viability, and most importantly, as you suggest, feels it in that manner. At the very worst, we will simply end up returning to that which we have always appreciated, which is not the worst thing, because the entire experience has been very instructive. But I would make a difference between a novel approach because the performer (very honestly) feels it so, and on the other hand a simple experiment to either see how it works or just top be different and anti-traditional. I hope I have answered your point, but please feel free to get back in the event that I have not.
runupahill1 I'm a little stymied as far as furnishing the best response to what you have no written to me, most particularly in your use of the terms "primary" and "secondary" and their respective applicability. Yes, language and syntax. There must be a means of communication exactly as with spoken grammar for the product to make any coherent sense. Insight into the technical factors will provide an added dimension to the listening experience, but over all I can agree that it is not absolutely essential just so long as the listener can receive and respond to what is going on in the music, regardless of whether he/she is privy to the processes involved. I must confess to you, as a professional musician who has done some writing - when I listen to a piece of music for the very first time, especially so if it was an experience from my junior years, even after becoming better acquainted with the work and developing certain insights, I nevertheless very often strive to the best of my ability to recapture the feelings I received when discovering a work for the very first time, and this sonata by Mozart is hardly an exception. In that sense, perhaps a specific sense, I can understand where you are coming from, unless you tell me that you had something totally different in mind. But the idea of recapturing the sensation from a first impression is certainly something I can relate to, and this regardless of any technical factors, some of which may be relevant to my initial experience, and others not. But even with that, we must always remember that in the process of creation something did take place behind the scenes. and I will grant you that the discovery of such incidental details are not always welcome although they can often be, and that would depend on both our initial experiences and the very nature of the piece. We strive - at least I strive - to cling to an image as total and overreaching possible, whether in overall structure or in the totality of the sound, without breaking any of these up into component parts. The work speaks to us in a certain way, and we endeavor, quite rightfully, I think, to maintain what we receive, even though personal feelings and impressions change over time. But for what we receive, certain elements went into its production to make it what it is, and it is actually quite helpful to have at least a bare knowledge of technical terms, to better understand that which we receive. In summary, the two ideally should be in some sort of balance. Again, I hope that I've in some way responded to what you are attempting to say.
Wonderful performance!! I've heard many versions and can say this is the best one for my opinion!!! Absolutely wonderful! I would just like to know who performs it so wonderful..?? Thank you very much!!
It was written in C major. One who has Absolute pitch, or a person paying attention to the tonic via an instrument could bring out the fact that it doesn't sound like C Major on the recording. It doesn't change the fact that the piece is originally in C Major, as described by the creator of the video.
Actually, the piano is not tuned normally, I assume to present an authentic performance with the tuning of Mozart's day. It is between what we know as Db and C, but I would say it's a little closer to Db.
This sonata K 545 was published with an Italian title *Sonata facile,* and Mozart intended it as a sonata for beginners. The word ‘facile’ is identical in spelling and meaning in both Italian and French, but the correct pronunciation here is *’fah*-chee-leh’.
@Anbitye I had completely learned this and almost mastered it twenty years ago when I kind of gave up piano, had no access to a piano anymore, I just got an old piano last week and I'm going to play this piece again someday
The tempo in the first movement as well as unearthing the dramatic element in it sound to me close to Sviatoslav Richter's earlier interpretation I used to listen to many years ago. Typically, I hear this music performed much too fast, and I don't always like that. I am not sure this is Richter, but I like this rendition better than the most I've heard.
I've been spending a lot of time on that beautiful Andante and I think the analysis in the description is too brief and incomplete. In the minor section Mozart does a lot of weird and wonderful things, with heavy usage of diminished chords. In fact, besides Gmin/Bbmaj there is a transition bar that leads to four bars of C min. And after the main Gmaj theme recapitulation there is again a beautiful transitionary segment playing between F and C major before the movement closes in G maj. So a case again of playing with the subdominant, as mentioned in the intro for the also beautiful Allegro (the Rondo I'm not too crazy about...). Sorry, I know when put in words it all sounds too theoretical and mechanical there is no way to describe the subtle way in which Mozart does all this (but I couldn't help myself, I'm too excited about it and always keen to see if any other people find this interesting!). You have to listen to it or, even better, play through it yourself. I think this is one of the main differences between Mozart and Beethoven. With the latter you know every one of his zillion key changes, it's all very forceful, intellectualised, deliberate, whereas with Mozart it all happens so naturally and gracefully that unless you study his music closely you wouldn't even notice!
Contemporary piano. This sounds nothing like a fortepiano or any other instrument. The pitch being off is probably caused by the recording being converted incorrectly, if that's what you were wondering about. Fortepianos were also tuned roughly a half tone lower than the pianofortes today, if I'm not mistaken (which I might be).
+Delphine Vieillard note that there are quite a lot of rests meaning you would have to lift your fingers at a precise moment which is actually quite hard.Also, there are no fancy arpeggios or pedal(at least there shouldn't be) so on most pianos it is quite easy to hear if the pianist has made a mistake,no matter how small
If you could actually play it in allegro and lift your finger at exactly when the sheet music tells you to then that would be considered "playing it"... And check that it's the official version I doubt anyone would be able to play it after only 4 months
Actually this song is in D flat. I think the creator of this video got this song a step too high because it says it's in the key of C in the description.
This may sound as a dumb question, but the main theme on the second movement reminds me of some other "song" i can't find in my head what it is. I mean from 5:13 on. Is it another Mozart composition, or am i completely wrong and it reminds me of something else Schubert-alike?
Who is the pianist? I've compared this version to many others including Uchida, Eschenbach, Brendel, Schiff, Arrau, Horowitz, Pires, Gould, but I prefer this one for the dark tone, feel, and tempos.
I don't know if I'm right, or if it's just my ears, but this key sounds different then the normal c major, but maybe it's just the piano out of tune. Other than that, my favorite recording of the sonata!!!
Sí, ese tipo de géneros son muy repetitivos e indescifrables... me gustaría ver la opinión de algún experto en teoría musical, igual y no entendemos *porqué capta la atención de muchos hoy en día* . A mí me agrada mucho las canciones más viejas, al menos algunas del siglo anterior, y una que otra de pop-rock (aunque eso sí, analizo las letras también y no me dejo llevar por los ritmos), la música clásica por supuesto. Del metal no sé mucho, pero hay unos buenos solos de guitarra (antes tocaba guitarra eléctrica, acústica también) pero lo cambié por piano :)
![Mozart - Piano Sonata No. 7 in C, K. 309 [complete]](http://i.ytimg.com/vi/D95g_FU5cU0/mqdefault.jpg)
![Mozart - Piano Sonata No. 7 in C, K. 309 [complete]](/img/tr.png)
![Mozart - Sonata for Two Pianos in D, K. 448 [complete]](http://i.ytimg.com/vi/tT9gT5bqi6Y/mqdefault.jpg)
My girlfriend, the love of my life, died 3 months ago at the age of 22, suddenly. I don''t believe the human brain is capable of coping with such a radically event. Still this sonata (and many more music like this) helps me dealing with the fact life is such a wonderful but randomly phenomenon. This is the last (classical) piece of music we've listened to. Thank you so much, Wolfgang. I hope you, my love and so many others have found piece in the afterlife, for you deserve this. (excuse me for my bad English
Wow. My sincere condolences to you for such a profound loss. I hope that you, too, eventually find peace once again.
music, I've seen throughout my life, is away to inner peace when their is inner turmoil. My sincerest condolences and may this help you find peace again.
The music of mozart is pure light and hope. I'm so sorry for you lost, but don't worry, you will get a gift in the future. I'm sure.
Very sad - your loss. She was so young. Mozart's music is the soul's gateway to heaven. Hope you girlfriend rest in heavenly peace.
I'm sorry for your loss. If this helps, search up Studio Ghibli. They have very stress relieving music. Mozart rock!
00:00 - Allegro
04:41 - Andante
11:41 - Rondo
thanks man you saved my ass on the musicology class :P
thanks
THANK YOU
but the titles were just there I just had to skip to each piece lol
Recordings like these make me want to go to the piano and practice until I get it just right for my taste. I don't care if the recording in this video is in D-flat major or whatever and tuned down a bit. It actually sounds much better/ way better than other recordings i've listened to in this particular key. In fact, now that I think about it, this is the BEST interpretation of the sonata i've listened to so far. Whoever played this, HATS OFF TO YOU for such a magnificent performance! I would love to play it like this as well!
The starting of the recapitulation in the allegro mvt sounded like pure bliss, magic, serenity and pearls to my ears. The allegro is amazing in my opinion. Very, very amazing indeed. Just the right amount of clarity and playfulness for my taste. The andante, in my opinion, is out of this world/otherworldly as if the fingers playing it are feeling a sort of mystical magic/energy in them as they play it and having such clarity, precision and balance in their fingers, giving them the feeling that through these notes, keys and dynamics, they are touching the composer's heart and many others in ways that can be described as "unbelievable, indescribable and unfathomable", allowing them also to feel the poetry produced from their fingertips and to experience the music in a way that can touch them deeply as well and the hearts of millions. Through these notes, we all can find a way to touch a person's heart and make them weep and yearn for more. But merely describing the beauty of it in words is absolutely pointless in my opinion. But this was just my honest opinion. I had to say it. Could not contain it.
Had to let it out at some point. It was what I felt at the time I wrote this comment whilst listening to the andante itself.
This is one of the main reasons I love Mozart's piano sonatas. I hope you all enjoyed reading this and may I wish you all a good day. (P.S. The Rondo is very child-like and playful in my opinion, but in a musically beautiful way. Who finds so as well ?)
I didn’t notice how out of tune it is until I read this comment. Now I’m bothered. xD
It’s not out of tune it’s just when Mozart played this it wasn’t the same instrument it was adapted in to piano also it was composed not on the same hertz
There should be an introduction of this and many other compositions in every public school. This work is so important it must not be ignored
This is perfectly played. I dislike when it is played too fast. The pace of the allegro here is perfect. Some pianists play it at "Usain Bolt" pace and it ruins the relative beauty and simplicity of this wonderful piece.
I totally agree with you - even a bit slower would work well still I believe - actually I dont like my city - its quite dull and lots of arrogant people -. but I am so proud I live in the same city where Wolgang the genius was born jeje
I absolutely agree with you...in fact this goes for many performances of many of the most beautiful pieces.
I have no musical training, so it sounds phenomenal to me. It has always been one of my favorite Mozart compositions.
I agree, one of my favorite sonatas of his, even though he actually said it was made for beginners to play
*****
Currently, it is an exam piece for ABRSM Grade 6 in the UK (just the first movement), and Mozart must have had REALLY high standards to call that a 'beginner'
+Sam W It's not very hard though. Grade 6 is a bit of... Well, not an overkill, but it could be played by a grade 4 player.
+DefinitelyNotOfficial you can't ignore the rests mozart put in the piece. It is pretty hard to lift your fingers at the right time. Also the speed at which you're supposed to play it at is quite fast,and it is quite easy to hear the pianist make a mistake.I think Grade 6 is a good grade for the piece it is just as hard as other grade 6 pieces
In Noctem Naaah... It's mostly just scales...
the Andante is unbelievable
"გამჭვირვალე მოცარტი" მას ლოცავს ჩვენი სულები და გონება. ეს მუსიკა აერთიანებს სამყაროს მშვენიერებასა და იდუმალებას, ამარცხებს სიკვდილს!
Masterpiece!!! Mozart, my favorite composer!! Thank you so much for sharing!!
It amazes me Mozart wrote something so simple and easy and yet in the same year, also wrote a very complex and dazzling work such as the C major Symphony "Jupiter" K.551, which is only 6 K numbers away from this. Sometimes he wrote something very 'Beethovenian' such as the C minor Concerto K.491, other times he wrote something very 'Chopinesque' such as the A minor Rondo K.511. This is the best thing about Mozart, he's so multi-dimensional.
Une des plus belle sonate du plus grand compositeur du monde : MOZART.
To the uploader, great comments/description! Thanks for taking the time to include it!
As a composer, of modern music I might add, this guy is unreal......
What do modernist composers learn from classical composers like Mozart?
@@anthtan Nothing. They are human trash.
It's not "played" in D flat major, it's still played in C major, but for whatever reason the audio is transposed up by a half tone (C -> D flat).
To be honest it sounds much nicer that way, though probably only people with an absolute pitch are able to really tell the difference.
I'm not musician with nothing more than high school knowledge of musical theory, and I could already tell the difference of pitch. It does sounds nicer but the original pitch will always be better for me.
***** It's standard tuning for European instruments. American instruments are actually slightly lower
Unoriginal Username
ah
I have perfect pitch, Surprisingly this didn't hurt my ears! :D
i think it should even better be played in B !
which is H in europe, HotSlutGG
I was looking for the Rondo Allegro for a while.
How could people not like THIS? Mistery...
I like it but I can fully understand why people don't, it's kind of "boring precise adult music", I think elementary school children would fall asleep when listening to this.
People like different things. Wow, what a fucking mystery lmao
People whose ears were fucked by EDM in club
Love the 2nd movement : Adante & thank you for the info in the description! :)
Thank you for posting this. Fantastic. It helps indeed with the difficulties of life. Such beauty makes life worth living, despite all the pain it also carries.
God, this is so beautiful.
A joy to listen to an abundance of character with the dynamics of play.
+zdane foxx This makes no sense.
Really love the Andante. It's such a beautiful piece and the interpretation of the piece is superb.
Quando l' ascolto qui mi piace molto.. ma quando la suono io è una grande soddisfazione!!
¡Simplemente extraordinario!Esto me alegra el dia.
Todo un virtuoso
Divine and beautiful
An "easy sonate". Learning to play that takes months and months, every day playing 4 hours....so that you become a ghost....you forget the color of the sun.
I don't actually agree with the word "easy", I was talking about it today with my Japanese Piano teacher, she said it isn't easy at all!
Yahya Mhirsi Maybe because she's stupid. It's funny how you have to mention her ethnicity. I have a physics lecture in a bit by my white physics professor.
Shakespeare well I did mention her ethnicity because Piano teachers at my music university have different ethnicities and everyone agrees that she's the best one :)
Calling her stupid without knowing her makes you sound so stupid..
And the fact that this piece looks easy for you compared to other pieces doesn't really make it easy, because sometimes even though you have very good technics you can't play well a piece that doesn't need a lot of technics but more emotions and passion :)
Plus, Mozart never called this sonata "Easy Sonata", someone, we don't even know who it is did, so if Mozart called it Sonata K545, you should call it like that :)
Have a nice day!
Yahya Mhirsi No, not really. You mentioned her ethnicity because you wanted to feel superior to all non-Asian people. I only suggested that she's stupid, and perhaps she is given that she considers a composition of this caliber to be difficult. Try Chopin's Revolutionary étude, Fantasie Impromptu or Korsakov's Bumblee. I also guess you've overlooked the fact that Mozart was white, and Bartolomeo Cristofori was also white. But, you have to build your self-esteem somehow, I suppose. I dont think that I need to go into how nearly every classical composition was crafted by a European, except for those created by Scott Joplin. So, I think that the white person who played this particular composition by the white person who created this composition on the instrument created by a white person did very well, otherwise, I wouldn't be listening to it and neither would you. Have a good day!
Shakespeare I'm not Asian..
You don't have the right to suppose that someone is stupid like that, unless they explain, I never feel superior to others, maybe I mentioned her ethinicity just because I feel so lucky as she is really an amazing pianist and teacher, I've never had any teacher from my country like her, and I played Chopin so I get you, but that doesn't mean this piece is supposed to be easy though, and I didn't say it's difficult, just it's not easy and it needs a lot of practice, I'm speaking about perfectionism, otherwise anyone could play it :)
I don't know why you've said the word white so many times, I'm white too but what do you mean? I didn't get you, I respect all those composers just because of their talent not because they're white or whatever
Mark Levine writes in The Jazz Theory Book that to be a great artist you must have:
"Talent (ears, time, a sense of form)
Direction (exposure to the right music for you)
Education (teachers, mentors)
Ambition
Number 4-ambition-is perhaps the most important of all.
I donʼt mean ambition in the sense to be a star, but in the
sense of having a will, desire, and stamina to practice.
If you donʼt have this quality, all the talent in the world means nothing."
Mozart had the 3 and was the most ambitious musician in the history of music, as Charles Rosen said.
What is genius?: the capacity for taking infinite pains.
couldnt agree more. It's the best version of the Sonata Facile I found.
And thank God that I finally found one because there are loads of crappy ones.
I think is a fine interpretation. It's the subtleties that make the difference, the undefinable differences in a performance by Artur Schnabel or Maria Joao Pires, as different from each other as they are both"true" to the "meaning" of the language of Mozart. Tempo, speed, pitch...all secondary and good for nothing but pedantic university dissertations.
Feather light playing.... beautiful...
I agree that it is a very fine interpretation. Subtleties do make a difference, but you are underrating the difference that tempo and speed make. In this reading, at least by my impression, that factor is as near perfect as you can get; at least it exemplifies just how I hear the music, and I'm sure many others as well, as can be seen from the many favorable posted comments. Speed the music up, as is so often done nowadays - this type of music making in my opinion has become a scourge, engendered by the "authentic" movement, whose stated purpose (excuse, if you ask me) is to reproduce and replicate the manner of performance of the composer's own time - and you will at once hear how this sort of change will destroy the exquisite impressions you get from a performance such as in this posting.
The music speaks to us today, in a manner that we can all understand and appreciate. What need is there to unearth something that is not in today's mode except for archeological or academic reasons, as you rightly state? When I listen to such a latter type of performance, all that is accomplished as I see it, is to get us to appreciate that much more that we are acclimated to.
To sum this point up, tempo and speed is really a very big factor in interpretation.
As for the pitch, the only untoward factor I noted here was a slight wavering of the pitch at the very end. That would cause me to suggest that the entire work be reposted with that factor corrected. Remarkable that with this higher pitch we do not feel a faster speed in the music, but I suppose that is because the difference is very small.
I will not go into the matter of "authentic" performances on "authentic" instruments, wherein everything is heard to be a half step lower, and thus this sonata would then reach us in B Major in the name of C Major.
All I am interested in at this point is to find out the name of the artist who has given us such a marvelous reading of this work.
***** I find no disharmony in anything you are saying....except that I am "underrating the differences that tempo and speed make". I am sorry if my word choice leads you to draw that conclusion. I am no knowledgeable expert in "Music".. My experience is that there are subtle differences in tempo and speed, not only between performers of the same work, but of the same performer of the same work at different times in her or his life . And if his or her "heart" conveys the heart of the work, speed and tempo are secondary. And that, of course, is relative to my own changes in "life" and "heart" So far, Mozart and certain interpreters have stood by me, and my tears of gratitude vouch for my heart. .
Alan Hill Alan, it's the very last sentence in your previous post that induced my response.
I understand fully what you're saying, when it comers to "heart." (Sometimes I wish that would apply to creative composition as well as performing!)
The definition is a very elusive one and it is a matter of balancing of different factors. Yes, I fully understand what you're saying when according to one's disposition or frame of mind, a different sort of reading might be engendered.
No question about that. But in balance, there are certain reasonable limits within which one must remain in order to present a fair idea of what the composer had in mind. These factors are very flexible, which is where differences in
interpretation come in, but there is also a matter of making the resultant convincing no matter the means, and to this end one should reasonably expect a degree of coherence so that what is presented can be easily followed. These
conditions are so fluid that there is no hard and fast rule about it. The performer may feel the music one way; the listener (assuming a degree of experience in listening) may feel it another way. We all have our listening needs and expectations, and cannot expect to fully satisfied each and every time, and certainly not 100% of the time. But if what the performer turns out is convincing, however relatively close or distant he/she is from the composer, than the result has reached the listener. I guess then you could define it in a sense of emotional understanding and contact, and thus heart.
It is a very indefinite factor to try to define, and I don't know whether I have made my point clear. Tempo certainly does
play a part - slow or fast. I have my preferences, as have you. We each have a certain expectation of what to obtain from a work of music. True, it is refreshing to listen to another approach totally knew to us, especially if the performer has managed to convince us of its viability, and most importantly, as you suggest, feels it in that manner. At the very worst, we will simply end up returning to that which we have always appreciated, which is not the worst thing, because the entire experience has been very instructive.
But I would make a difference between a novel approach because the performer (very honestly) feels it so, and on the other hand a simple experiment to either see how it works or just top be different and anti-traditional.
I hope I have answered your point, but please feel free to get back in the event that I have not.
runupahill1 I'm a little stymied as far as furnishing the best response to what you have no written to me, most particularly in your use of the terms "primary" and "secondary" and their respective applicability.
Yes, language and syntax. There must be a means of communication exactly as with spoken grammar for the product to make any coherent sense. Insight into the technical factors will provide an added dimension to the listening experience, but over all I can agree that it is not absolutely essential just so long as the listener can receive and respond to what is going on in the music, regardless of whether he/she is privy to the processes involved.
I must confess to you, as a professional musician who has done some writing - when I listen to a piece of music for the very first time, especially so if it was an experience from my junior years, even after becoming better acquainted with the work and developing certain insights, I nevertheless very often strive to the best of my ability to recapture the feelings I received when discovering a work for the very first time, and this sonata by Mozart is hardly an exception.
In that sense, perhaps a specific sense, I can understand where you are coming from, unless you tell me that you had something totally different in mind.
But the idea of recapturing the sensation from a first impression is certainly something I can relate to, and this regardless of any technical factors, some of which may be relevant to my initial experience, and others not.
But even with that, we must always remember that in the process of creation something did take place behind the scenes. and I will grant you that the discovery of such incidental details are not always welcome although they can often be, and that would depend on both our initial experiences and the very nature of the piece.
We strive - at least I strive - to cling to an image as total and overreaching possible, whether in overall structure or in the totality of the sound, without breaking any of these up into component parts. The work speaks to us in a certain way, and we endeavor, quite rightfully, I think, to maintain what we receive, even though personal feelings and impressions change over time.
But for what we receive, certain elements went into its production to make it what it is, and it is actually quite helpful to have at least a bare knowledge of technical terms, to better understand that which we receive. In summary, the two ideally should be in some sort of balance.
Again, I hope that I've in some way responded to what you are attempting to say.
Wonderful performance!! I've heard many versions and can say this is the best one for my opinion!!! Absolutely wonderful!
I would just like to know who performs it so wonderful..?? Thank you very much!!
It's Mitsuko Uchida.
I agree completely with suegha - the interpretation is magnificent. Faster would spoil the feeling. Just gentle and great :)
It was written in C major. One who has Absolute pitch, or a person paying attention to the tonic via an instrument could bring out the fact that it doesn't sound like C Major on the recording. It doesn't change the fact that the piece is originally in C Major, as described by the creator of the video.
@fizerethan Doesn't sound like a fortepiano to me, so I'll say that it is a normal modern piano.
I really love it ! ♥
Maravillosa i interpretación, gracias.
Fantastic what a piece of piano playing.
when the music was a music
still is, no one likes an elitist so hush you pretentious baby.
Nah, he's right.
Excelent, dear champion Amadeus!
내 마음 속 추억의 소나타16번
이곡을 듣고 모차르트를좋아하게되었어요
공유해주셔서감사합니다
AMADEUS AND HIS BRILLIANCE
Actually, the piano is not tuned normally, I assume to present an authentic performance with the tuning of Mozart's day. It is between what we know as Db and C, but I would say it's a little closer to Db.
Thanks for the great description!
Obra marcante do estilo mozartiano.
This sonata K 545 was published with an Italian title *Sonata facile,* and Mozart intended it as a sonata for beginners.
The word ‘facile’ is identical in spelling and meaning in both Italian and French, but the correct pronunciation here is *’fah*-chee-leh’.
"Facile" my ass.
Mozart specifically said it was for beginners, so people understand your struggle seeing as how you are a beginner, so stop whining.
***** Looks like someone can't take a joke.
VideogameDemocracy I know right??
yeah right!!! show me a beginner who plays like this!!!...LMFAO!!...put the crack pipe down!!!
@Anbitye I had completely learned this and almost mastered it twenty years ago when I kind of gave up piano, had no access to a piano anymore, I just got an old piano last week and I'm going to play this piece again someday
The tempo in the first movement as well as unearthing the dramatic element in it sound to me close to Sviatoslav Richter's earlier interpretation I used to listen to many years ago. Typically, I hear this music performed much too fast, and I don't always like that. I am not sure this is Richter, but I like this rendition better than the most I've heard.
Some parts remind me of Beethoven's very first piano sonata. So beautiful!!
I've been spending a lot of time on that beautiful Andante and I think the analysis in the description is too brief and incomplete. In the minor section Mozart does a lot of weird and wonderful things, with heavy usage of diminished chords. In fact, besides Gmin/Bbmaj there is a transition bar that leads to four bars of C min. And after the main Gmaj theme recapitulation there is again a beautiful transitionary segment playing between F and C major before the movement closes in G maj. So a case again of playing with the subdominant, as mentioned in the intro for the also beautiful Allegro (the Rondo I'm not too crazy about...). Sorry, I know when put in words it all sounds too theoretical and mechanical there is no way to describe the subtle way in which Mozart does all this (but I couldn't help myself, I'm too excited about it and always keen to see if any other people find this interesting!). You have to listen to it or, even better, play through it yourself. I think this is one of the main differences between Mozart and Beethoven. With the latter you know every one of his zillion key changes, it's all very forceful, intellectualised, deliberate, whereas with Mozart it all happens so naturally and gracefully that unless you study his music closely you wouldn't even notice!
Love it very much !!🎶👍💐❤️
Contemporary piano. This sounds nothing like a fortepiano or any other instrument. The pitch being off is probably caused by the recording being converted incorrectly, if that's what you were wondering about. Fortepianos were also tuned roughly a half tone lower than the pianofortes today, if I'm not mistaken (which I might be).
I LOVE THIS ! It's my favourite song of Amadeo Mozart :* :*
My favorite part is from 0:00 to 13:50
Perfect Interpretation!
I wish the world could share this dream of peace for everyOne
Yes, it is a semitone too high.
Finally I found it! Since I heard it in "Groundhog day" \o/
ahh i can’ttt, this is sooo beautiful😢😢❤️❤️❤️❤️
QUE ALEGRIA LA MUSICA DE MOZART NOS ALEGRA EL ALMA.
Why is it in C#?
It depends on how they tuned the piano :)
or maybe they changed the audio for some reason
+armaxs28 bc the chords on the left hand starts with C#
How hard is the 1st movement ? Got almost 2 years piano behind me, can I possibly imagine to play it yet ?
It's really not that bad
+Delphine Vieillard note that there are quite a lot of rests meaning you would have to lift your fingers at a precise moment which is actually quite hard.Also, there are no fancy arpeggios or pedal(at least there shouldn't be) so on most pianos it is quite easy to hear if the pianist has made a mistake,no matter how small
+In Noctem i played piano for like 4 months and i play the whole 1st mov ,not really hard
If you could actually play it in allegro and lift your finger at exactly when the sheet music tells you to then that would be considered "playing it"... And check that it's the official version I doubt anyone would be able to play it after only 4 months
facile means easy, this was composed for beginners. you can play it yes.
Thx. Well done and analysed!
The song is in pal pitched +0.7 semitones
Actually this song is in D flat.
I think the creator of this video got this song a step too high because it says it's in the key of C in the description.
proffesional playing
This may sound as a dumb question, but the main theme on the second movement reminds me of some other "song" i can't find in my head what it is. I mean from 5:13 on. Is it another Mozart composition, or am i completely wrong and it reminds me of something else Schubert-alike?
that's amazing
Who is the pianist? I've compared this version to many others including Uchida, Eschenbach, Brendel, Schiff, Arrau, Horowitz, Pires, Gould, but I prefer this one for the dark tone, feel, and tempos.
It sounds to me that this is Uchida. Don't you think so?
I´d like to know who played this... It´s a very good, lovely version! If someone knows please let us know it! Thanks
Is it me or is it in a slightly flat C# major?
yeah man, I'm sitting here with a guitar and I needed to go up a semitone :P
how fast are the composers fingers im always wondering....haha
I like this Easy sonate @Philippe kikou 👍🏿✌🏿😀
That piano is sharp.
hello everyone.Does by any chance know someone the name of the pianist/in? I think its a nice interpretation. Thank you.
I don't know if I'm right, or if it's just my ears, but this key sounds different then the normal c major, but maybe it's just the piano out of tune. Other than that, my favorite recording of the sonata!!!
it is, the channel changed a pitch higher for whatever reason, probably copyrights. Agree, this is my favorite recording :)
Who came here from Benjamin Zander's Ted Talk? SO INSPIRING
amazing im so going to start practicing this!!!
I want to play like this!
Then practice, right now. If you don't enjoy it, your eagerness is pointlessness, and if you enjoy it, the process will come to you easily.
Una belleza!
super love!!
Why is it so hard to find a version that doesn't sound muffled?
on a piano or piano forte normal?
Who's the author of this interpretation?
Obligatory Halloween comment:
"You have such lovely arms, I ABSOLUTELY MUST HAVE THEM!"
-Herr Gimble
i like it
Genius himself !!
out of tune on 00:09
Fluids in baby Mozart Music Festival
Conosciuta nel film "pane e cioccolata" il secondo movimento....stupendo vedete anche il film nino è sempre nino
رووووووووووووووووووعة
Hermoso
Nice :3
jhon salchichon xdddxd
great
Leo was 5 years old in December 2011.
I Made This :)
즐감해요
hermoso
It’s not out of tune just in a different hertz
From Baby Mozart 1998 ITIC
Esto si es música a comparación de la mierda de reggaeton o como se escriba :v
me gusta esto para estudiar :)
El reggaetón provoca cáncer auditivo >:/
concuerdo contigo amigo >:v lo mismo con el Dubstep o electronica o como pinches se llame
en lo personal me gusta mas la música clasica, rock y metal
Sí, ese tipo de géneros son muy repetitivos e indescifrables... me gustaría ver la opinión de algún experto en teoría musical, igual y no entendemos *porqué capta la atención de muchos hoy en día* .
A mí me agrada mucho las canciones más viejas, al menos algunas del siglo anterior, y una que otra de pop-rock (aunque eso sí, analizo las letras también y no me dejo llevar por los ritmos), la música clásica por supuesto. Del metal no sé mucho, pero hay unos buenos solos de guitarra (antes tocaba guitarra eléctrica, acústica también) pero lo cambié por piano :)
Trolls and tribulations for those 80’s kid
노래 조타~^^