Thank you both. The middle movement in andante sostenuto is probably my favorite piece by Mozart, simply because it was his first work I learned on the piano (although no violinist would dare suffer through playing it with me).
If Czerny's tempo indications are to be believed, the slow-fast-slow format is an artifact of later times and not Mozartean. Audiences today have been trained to believe that virtuosic playing makes the music better, but if this is not the performance practice that Mozart had in mind, it is only succeeding in making the wrong tempi palatable. This is sad in itself, but it is sadder that even period instrumentalists don't seem to care that tempi must've been different in the private, intimate spaces this music was intended for. I'm sure these two folk have to make sure that the people in the 40th row get their $20 worth, but who is going to try to take us back to the candle lit room where Mozart played this for a few rich nobles and the help?
Une interprétation pleine de sensibilité et d'intelligence. Magnifique!
Wonderful performance
Fantastic playing: polished and heartfelt! ♥️
綺麗な音。優しい音。
excellent
Beautiful 👏👏👏
Highly tasteful & stylistically appropriate. Great tribute to period performance! Less pomp, more elegance.
There is no better performance of KV296 than this on UA-cam! I play it often, when I'm happy, sad or in between.
Thank you both. The middle movement in andante sostenuto is probably my favorite piece by Mozart, simply because it was his first work I learned on the piano (although no violinist would dare suffer through playing it with me).
Impressive
Bravo! Spiel und Produktion 1a.
Vielen Dank!
0:05 I. Allegro vivace
6:33 II. Andante sostenuto
12:24 III. Allegro
💖💖 ✨✨ 🎻 🎹
less rubato of the piano, and it would be perfect, congratulations !
If Czerny's tempo indications are to be believed, the slow-fast-slow format is an artifact of later times and not Mozartean. Audiences today have been trained to believe that virtuosic playing makes the music better, but if this is not the performance practice that Mozart had in mind, it is only succeeding in making the wrong tempi palatable. This is sad in itself, but it is sadder that even period instrumentalists don't seem to care that tempi must've been different in the private, intimate spaces this music was intended for. I'm sure these two folk have to make sure that the people in the 40th row get their $20 worth, but who is going to try to take us back to the candle lit room where Mozart played this for a few rich nobles and the help?
Your snobbishness is laudable, good sir. I'd like to see you banter with them Mozarts in that candlelit room back then!