I came here after listen to your video on the tempo ofseconds partita courante. People often think is more difficult to play at very fast tempos, but after watching you I realised how difficult is to play with the tempos you use, extremely difficult to mantain the emotional connection and the whole attention. Admiration to your work
Brilliant performance. Mozart is well known for his (frankly juvenile) joy and playfulness, but I believe his greatness truly lies on his more sad and deep compositions.
A few thoughts...There's no doubt in my mind that 19th century composers took liberty with Mozart and Bach. This tempo definitely "works" for me just purely as a listener with the Clavichord, but I wonder...if Mozart was playing primarily with a piano, and not a Clavichord, would it sound as good? As an anthropologist, if this was the real tempo, it definitely makes sense, purely from a cultural perspective- do we "want" as modern listeners the tempo sped up purely because we don't have the attention span to listen to something this slow anymore? something to ponder over
Mozart played clavichord his entire life, composed on it, performed, bought, sold, his father was selling clavichords. The piano in fact came late in his life. We got used today to performances that try to connect heavy beats with each other. 'take it over the bar'. See conductors who push their orchestras -even baroque- to connect those heavy pulses. The historical practice was to connect all beats of a certain bar or time sign. Like here, 6/8, meaning heavy-light-light - heavy (bit less) -light-light. Speading up would give the impression of playing slow triplets, which would be off notation. The feeling of the listener of just wait and see what happens, would open many ears, still today!
Your point is well taken. As a trained vocalist and piano rebuilder, I have learned over the decades to focus not just on each pitch of music but also to the the shape, bloom, directionality, decay, overtone composition, etc. and how they effect the music (whether it is clearly designed to assist the composition or does it fight the process.) The clavichord has a back scale which (despite lacking a built-in string length proportionality) seems to actually sing in tune with the main speaking lengths. As such, it adds to the timbre at the same time it affects the bloom, the directionality and so forth of the musical line and mood of the composition. I often feel that Wim is speaking more through the backscale than he is through the main speaking lengths. These comments concern all features which the clavichord is more adept at forcing us to attend to. The pianoforte's primary source for this augmentation (even on modern instruments) comes largely from the bass strings which cannot be totally damped and seldom add a clean, beat free, on or nearly on pitch tonal augmentation. The piano's overtone harmonic portions are seldom so in harmony.
First time I hear this piece, so nothing or nobody to compare with. I understand what you mean about an lamento andante and it suits perfectly with this piece... Reminds a bit of the fantasia in d minor 397... Wonderful. Bravo Wim!
The instrument is interesting for me in that the tone changes so much from bottom to top. The almost distorted tone in those bass notes really brings the fact that Mozart is going to extremes. Same with the top of the instrument. What might seem just like a rumbling passage on a Steinway (and might sound like Mozart just adding some variety to the register) is imbued with the passion/terror of exploring the depths of the music. There's a sense at the top that a string is about to break as it gets shriller and shriller. It's an aspect of this kind of Mozart's writing that we lose when it is performed on a modern piano.
Ongelooflijk dat dit zoveel mooier klinkt met dit tempo... Wat tempo al kan doen, zo veel meer emotie door alleen maar het tempo te halveren. Als je dan naar 'normale' opnames luistert hoor je pas wat je mist en hier wel hebt, eigenaardig dat je zo'n extra laag er aan toevoegt.
May I say, I really like this! In the past, I have not been a huge fan of Mozart. But the inherent clarity in your playing seems to make it possible to "get inside" Mozart's music and hear how carefully Mozart crafted his compositions. I had a music professor in college who said that the Baroque era was an era of deep feelings expressed in music but within carefully prescribed limits. Might that apply also to the Classical period?
I’ve always felt that a huge part of the power of music of classical period and especially Mozart’s is the” almost at the point of breaking “ emotional tension, ‘conflict’ between the imperative to maintain the purity of form versus the expression of pure emotion, the Apollonian and the Dionysian, and Mozart accomplished this perfectly.
Thanks Wim ...well played ..from Piano recordings ive heard the Tempo is a bit faster ..but this works for me ..well played ..I play a lot of music on Guitar that was not originally played on the instrument ...good to hear on Clavichord .. :)
This would be the first time I disagree with your interpretations I believe Mozart wrote this rondo again to express the melody line of up and down sort of phrasing . This was not an expression of sadness this was one of joy as so much of Mozart's music is Happy.. also of course it needs to be sped up
U play this rondo at too slow a tempo . It's ' Allegro Mysteriouso ' 😂 the chromatic melodies were surely intended by Mozart to be an up & down faster tempo
Hi Wim, The tempo is certainly much slower than what I'm used to; I can't say yet whether I'm convinced by this tempo (were andantes really played this slowly?), but there's certainly no doubt about the excellence of your performance!
They must have... working on an overview of Czerny's /Moscheles MM for Mozart and Beethoven of which I will give for free a summary soon, this even is at the fast side. Today this piece is played in what they would have thought to be allegretto
Thanks for listening Rémi! This MM was given by Moscheles, you might want to start in this playlist as a start : ua-cam.com/play/PLackZ_5a6IWU1zXuo_Qx-YrCCtaJcBiPO.html
Reminds me of one of your most beautiful moving videos, the KV 540. ua-cam.com/video/RhixLp0zquk/v-deo.html Froberger often used scales to allude ascending to heaven or descending into the underworld (or falling down stairs!). Do you think Mozart did something to this effect? He did study Froberger and made a string transcription of his Hexachord fantasia.
Thanks Andy, really appreciate! O yes, the understanding of intervals and affect was clear to any composer, even going into the 19th c, so a falling fifth always implies tragedy, if Beethoven goes down the keyboard, it is God coming to earth, or humanity hoping for it, if Haydn chromatically goes up, it is the struggle of man to come close to God. See how much context changed, only there!
Since this recording of K. 540 is a little too slow in performance you adjust the speed to 125% by clicking the youtube (:) icon in the upper right hand part of your screen to adjust to taste
That would be a nice subject for someone to research! Well, not saying that an andante should be "walkable" per se, but if one would play this double this speed it would be hard I guess. So much still to discover..; fascinating!
Very nice performance. By habit both of playing it and hearing it, I feel it is too slow. It seems that when we adopt this speed level it is overly suggestive of a contemplative nature more appropriate for a Chopin Nocturne or the opening movement of Beethoven's "Moonlight" sonata. Mozart's music can sound sad, but he wrote in a time period when emotions were compartmentalized and often lapsed into mannerisms. Verismo was a very long way into the future. The emotional depths of Brahms would have challenged Mozart. I think he would have to learn to calibrate his emotions in ways that he didn't know how to do. Its a deep subject.....However, he was no fool. He would have marvelled at the emotional range of Beethoven and Schubert, Brahms and Tchaikovsky.
Thanks for listening, Fred! I actually think you might want to reconsider emotions in the 18th c, also with Mozart, Brahms of course made very emotional music, but emotions a century before him were probably stronger than in his time leading directly to ours which is... well... how weeps today still even at dramatic occasions?
My issue was not with emotions as such. Humans have them and to argue against them is silly. How they relate to them or transcribe them into their art is a whole other thing. For me the slower tempo transformed the way that piece sat in my memory and it sounded odd. The notes are all there but the emotional inflections, if that is what they were, they sounded out of place. They made the piece for me more introspective than I think Mozart is at his best. There are exceptions of course. But, in general terms I don't normally relate to Mozart in the same way I do to romantic composers. Your point about emotions a century before him being stronger, well I would need you to provide proof of that. You are suggesting that human beings have some sort of emotional thermometer and for me that doesn't hold. I see no evidence for that. As the classical style was morphing into the romantic style, the music sounded more personal and the emotions maybe in brighter colours or tones.
Among cultural historians in Europe, the time of Mozart (roughly 1760-95) is sometimes called ‘the age of tears’. It started as a literary movement with Rousseau’s “Julie, ou la nouvelle Héloïse”. (1761) and Goethe’s “Die Leiden (!!!) des jungen Werthers”. (1774). It was the time of “Weltschmerz”. It influenced art, public life, politics, even courts of justice. It trickled down to the middle and lower classes. When Maria-Theresa died, people in the Austrian Netherlands ( = present day Belgium for the non-Dutch/Flemish) were weeping in the streets, including the men. And yes, it also influenced music. Let’s not forget that Rousseau was also a composer, albeit not one gifted with a musical talent like that of Mozart. Mozart’s “Lacrimosa” is the finest example ever composed in this style that was later called somewhat mockingly ‘sentimentalism”, but was in fact the precursor of the Romantic style.
Excellent post. What I have been hammering away at is the distinction I think we all hear in Romantic music, especially late Beethoven, most of Schubert, etc. The classical period and even the Baroque certainly did express emotions and we heard them expressed within the idioms of the musical thinking of that era. Consider Purcell's "Dido's lament". This is very sad music and you have to be a stone not to be moved by it. However, we don't feel Purcell's pain here; we perceive the pain of a person in an opera; the composer hides behind the notes. Consider the opening extracts of the St. Matthew or St. John passions; we hear pain but we do not sense that this is Bach's personal pain. He like most of the Baroque composers express their ideas somewhat detached from themselves. The audience made no mistake and they felt pain and sadness, but they felt the pain of Christ and not J.S. Bach's pain. There are many sections in Mozart Requiem mass that are full of deep pain and sadness but again, speaking for myself, I don't hear this as Mozart's pain. He has imagined the pain of Christ and has imbued the score with painful sounds, not Mozart's pain. Then jump forward and listen to Sonata No. 26 in E Flat Major, Op. 81a , 3rd Mov. by Beethoven. Now we hear suicidal pain and it is ALL Beethoven's emotions, bubbling on the surface. When we hear the beginning few minutes of Beethoven's "Egmont" overture, we hear Beethoven's searing rage. The romantics wore their emotions on their sleeve and the Classical and Baroque composers did not. That's my point.
Hi! I have a question for you: why minor keys and chords are often used to express sadness and major keys and chords are used to express joy? I know there are a lot of pieces that don't follow this rule and that in other cultures (in african music, in chinese pentatonic music or in classical indian raga) the use of scales to express feelings is different but I'm talking in general... I asked this question a lot to my different teachers since I was a kid but the answers they gave me did not completely convince me...
Leonardo Alejandro Reyna I know what you mean but that doesn't explain the question: is there any objective reason why composers since Renaissance (I think Dufay is one of the first example you can find online) started to use the minor third to express some feelings and the major to express others? I think this is a peculiarity of the third used as a consonance (in Machaut's time for example the third was used as a dissonance: his "Missa de Notre Dame" is beautiful but I think that with his use of octave and perfect fifth is not as expressive as Dufay)
That is a great question that probably is hard to answer, certainly different in different cultures. What to me is expressing the drama here, perhaps more than the A minor key, is the falling fifth, the understanding of intervals and affect was clear to any composer, even going into the 19th c, so a falling fifth always implies tragedy, if Beethoven goes down the keyboard, it is God coming to earth, or humanity hoping for it, if Haydn chromatically goes up, it is the struggle of man to come close to God. See how much context changed, only there!
Yousef Shadian thank you! I already saw the first video and I think it has an interesting point, but I wanted to hear another point of view... I know Jacob Collier, he's amazing! I will check his video about this topic, thank you very much. I think that maybe the context of armony and scales in classical music could be different than in jazz, for example the video by Adam Neely was much more about modal scales... If someone has a different opinion I would love to hear it
well done, very nice (apart from some annoying movements with the left hand when is free, and some annoying self-complacent facial expressions here and there...;)
lol, you are right, you play great and you should continue the way you like, don't allow my criticism to change you :) and that's true, if you have a teacher teaching you to mime like Marcel Marceau, then you will follow your teacher. I really don't know when it began this body language fad, but I think that if Mozart saw any of us pianists pulling faces, he would have thrown a bucket of cold water on our faces. Personally I never find Mozart music sad, but there is always something uplifting and relaxing in his music.
As I spend a lot of time working in digital audio workstations staring at graphic displays of waveforms, I oftern have to stop and remind myself to listen with my ears, not my eyes. "Video killed the radio star..."
@@AuthenticSound don’t worry, I discovered your channel a few days ago and I’ve had enough, I’ll stop commenting. YT keeps suggesting your videos but it’ll go away. In your favor: you personally take the time to respond to even a random commenter like me. Have a good one!
This A minor Rondo which influenced Chopin BTW is marked Andante by the composer, not Adagio, Lento or Largo. Average performances range from 9-11 minutes. This is 18 minutes, played at half-tempo. Must have been uploaded on April Fool’s Day. This one is “performed” at half-tempo, inexplicably. This has no forward motion or momentum of any kind. In 6/8 time the feeling should be 2 beats to the bar, not 6! This is a sacrilegious attempt by someone with 0 technique “playing” it on a clavichord, of all things. Mozart wrote this for the fortepiano. The whole thing should just vanish from UA-cam. Desecration.
Mozart did not compose for the clavichord....??? You traveled from Planet Ignorant to spread your knowledge onto this one? And of course in a 6/8 you are not supposed to feel 6 beats per bar, that's why it's called 6/8 :-). #ilovetheinternet
I came here after listen to your video on the tempo ofseconds partita courante. People often think is more difficult to play at very fast tempos, but after watching you I realised how difficult is to play with the tempos you use, extremely difficult to mantain the emotional connection and the whole attention. Admiration to your work
Very true
Brilliant performance. Mozart is well known for his (frankly juvenile) joy and playfulness, but I believe his greatness truly lies on his more sad and deep compositions.
I have just listened again to this remarkable piece & performance; an am in awe ! wonderful & thank you yet again for your musical insight !
Lovely music... And a great tempo, there's no need to rush. Thank you for recording it.
Thanks Kresimir
Thanks for sharing. There seems to be a lute feel to this piece, especially at the beginning. I'm very pleased to have come across your channel.
Thanks for the compliment and great to welcome you here! The clav and lute are very related, so happy you hear that in this recording!
Beautiful piece and superb playing. Great as always Wim
Thanks Carlos!
Absolutely amazing! Could you please also do K.485?
A few thoughts...There's no doubt in my mind that 19th century composers took liberty with Mozart and Bach. This tempo definitely "works" for me just purely as a listener with the Clavichord, but I wonder...if Mozart was playing primarily with a piano, and not a Clavichord, would it sound as good? As an anthropologist, if this was the real tempo, it definitely makes sense, purely from a cultural perspective- do we "want" as modern listeners the tempo sped up purely because we don't have the attention span to listen to something this slow anymore? something to ponder over
Mozart played clavichord his entire life, composed on it, performed, bought, sold, his father was selling clavichords. The piano in fact came late in his life. We got used today to performances that try to connect heavy beats with each other. 'take it over the bar'. See conductors who push their orchestras -even baroque- to connect those heavy pulses. The historical practice was to connect all beats of a certain bar or time sign. Like here, 6/8, meaning heavy-light-light - heavy (bit less) -light-light. Speading up would give the impression of playing slow triplets, which would be off notation. The feeling of the listener of just wait and see what happens, would open many ears, still today!
Thanks for clarifying! So this is even more authentic than I thought- the channel lives up to the name, thanks!
Your point is well taken. As a trained vocalist and piano rebuilder, I have learned over the decades to focus not just on each pitch of music but also to the the shape, bloom, directionality, decay, overtone composition, etc. and how they effect the music (whether it is clearly designed to assist the composition or does it fight the process.) The clavichord has a back scale which (despite lacking a built-in string length proportionality) seems to actually sing in tune with the main speaking lengths. As such, it adds to the timbre at the same time it affects the bloom, the directionality and so forth of the musical line and mood of the composition. I often feel that Wim is speaking more through the backscale than he is through the main speaking lengths.
These comments concern all features which the clavichord is more adept at forcing us to attend to. The pianoforte's primary source for this augmentation (even on modern instruments) comes largely from the bass strings which cannot be totally damped and seldom add a clean, beat free, on or nearly on pitch tonal augmentation. The piano's overtone harmonic portions are seldom so in harmony.
I love it !
First time I hear this piece, so nothing or nobody to compare with. I understand what you mean about an lamento andante and it suits perfectly with this piece... Reminds a bit of the fantasia in d minor 397... Wonderful. Bravo Wim!
Thanks Antoine, great to read!
The instrument is interesting for me in that the tone changes so much from bottom to top. The almost distorted tone in those bass notes really brings the fact that Mozart is going to extremes. Same with the top of the instrument. What might seem just like a rumbling passage on a Steinway (and might sound like Mozart just adding some variety to the register) is imbued with the passion/terror of exploring the depths of the music. There's a sense at the top that a string is about to break as it gets shriller and shriller. It's an aspect of this kind of Mozart's writing that we lose when it is performed on a modern piano.
Great comment! Yes, early keyboards have different 'registers' like you nicely described
Ongelooflijk dat dit zoveel mooier klinkt met dit tempo... Wat tempo al kan doen, zo veel meer emotie door alleen maar het tempo te halveren. Als je dan naar 'normale' opnames luistert hoor je pas wat je mist en hier wel hebt, eigenaardig dat je zo'n extra laag er aan toevoegt.
Dank je, en bedenk nog dit: het is zelden halveren, want de letterlijke tempi worden zelden gehaald, of wil niemand halen
Just love this...thank you
Thank you!
Pretty sad, yes, but I feel the middle movement of the 23rd piano concerto is SOOOOOOOOOOOO very sad.
May I say, I really like this! In the past, I have not been a huge fan of Mozart. But the inherent clarity in your playing seems to make it possible to "get inside" Mozart's music and hear how carefully Mozart crafted his compositions. I had a music professor in college who said that the Baroque era was an era of deep feelings expressed in music but within carefully prescribed limits. Might that apply also to the Classical period?
O yes, the end of the 18th century had no problem with man having tears!
I’ve always felt that a huge part of the power of music of classical period and especially Mozart’s is the” almost at the point of breaking “ emotional tension, ‘conflict’ between the imperative to maintain the purity of form versus the expression of pure emotion, the Apollonian and the Dionysian, and Mozart accomplished this perfectly.
Great emotional piece!
Women are always right! -:) I like Mozart very much on clavichord. But most it is happiness feeling, but this time it was different.
Interesting interpretation.
Thanks Wim ...well played ..from Piano recordings ive heard the Tempo is a bit faster ..but this works for me ..well played ..I play a lot of music on Guitar that was not originally played on the instrument ...good to hear on Clavichord .. :)
Great to read Mike
Bravo Win, I loved.
Thanks Marcio
Love it!
Thanks!
This would be the first time I disagree with your interpretations I believe Mozart wrote this rondo again to express the melody line of up and down sort of phrasing . This was not an expression of sadness this was one of joy as so much of Mozart's music is Happy.. also of course it needs to be sped up
U play this rondo at too slow a tempo .
It's ' Allegro Mysteriouso ' 😂 the chromatic melodies were surely intended by Mozart to be an up & down faster tempo
Who is your fav classical composer and classical pianist?
Whoever I'm playing right now :)
I would love to see you playing some Pancrace Royer stuff.
You're not the first to ask, so I'll keep it in mind!
Yes!
What a beautiful instrument. I have never heard Mozart played on a Clavichord before and played with such emotion too!
That is so great to read Robin, thank you so much!
Robin Chapman hi. You should listen all of Mozarts works by Wim. It is a great experience especially the Munich sonatas!
I hear much melancholy here.
Yes! Far from the "Amadeus" Mozart
Hi Wim,
The tempo is certainly much slower than what I'm used to; I can't say yet whether I'm convinced by this tempo (were andantes really played this slowly?), but there's certainly no doubt about the excellence of your performance!
They must have... working on an overview of Czerny's /Moscheles MM for Mozart and Beethoven of which I will give for free a summary soon, this even is at the fast side. Today this piece is played in what they would have thought to be allegretto
Wow, really! The way tempo indications are interpreted certainly has changed a lot over
the centuries; very interesting!
Hi, can you tell me where you found the explication about the slow tempo? I'm really insterested. Thanks! (and great job ;) )
Thanks for listening Rémi! This MM was given by Moscheles, you might want to start in this playlist as a start : ua-cam.com/play/PLackZ_5a6IWU1zXuo_Qx-YrCCtaJcBiPO.html
Beautiful
Thanks Momo, hope you're doing well!
craziness
How often do you cry? What makes you cry? Are you often sad?
Reminds me of one of your most beautiful moving videos, the KV 540. ua-cam.com/video/RhixLp0zquk/v-deo.html
Froberger often used scales to allude ascending to heaven or descending into the underworld (or falling down stairs!). Do you think Mozart did something to this effect? He did study Froberger and made a string transcription of his Hexachord fantasia.
Thanks Andy, really appreciate! O yes, the understanding of intervals and affect was clear to any composer, even going into the 19th c, so a falling fifth always implies tragedy, if Beethoven goes down the keyboard, it is God coming to earth, or humanity hoping for it, if Haydn chromatically goes up, it is the struggle of man to come close to God. See how much context changed, only there!
Since this recording of K. 540 is a little too slow in performance you adjust the speed to 125% by clicking the youtube (:) icon in the upper right hand part of your screen to adjust to taste
don't. there are other Mozart recordings, no need to abuse mine
Nowadays people walk faster than ever, mostly devoid of thought and emotion. So does Andante...
That would be a nice subject for someone to research! Well, not saying that an andante should be "walkable" per se, but if one would play this double this speed it would be hard I guess. So much still to discover..; fascinating!
Very nice performance. By habit both of playing it and hearing it, I feel it is too slow. It seems that when we adopt this speed level it is overly suggestive of a contemplative nature more appropriate for a Chopin Nocturne or the opening movement of Beethoven's "Moonlight" sonata. Mozart's music can sound sad, but he wrote in a time period when emotions were compartmentalized and often lapsed into mannerisms. Verismo was a very long way into the future. The emotional depths of Brahms would have challenged Mozart. I think he would have to learn to calibrate his emotions in ways that he didn't know how to do. Its a deep subject.....However, he was no fool. He would have marvelled at the emotional range of Beethoven and Schubert, Brahms and Tchaikovsky.
Thanks for listening, Fred! I actually think you might want to reconsider emotions in the 18th c, also with Mozart, Brahms of course made very emotional music, but emotions a century before him were probably stronger than in his time leading directly to ours which is... well... how weeps today still even at dramatic occasions?
My issue was not with emotions as such. Humans have them and to argue against them is silly. How they relate to them or transcribe them into their art is a whole other thing. For me the slower tempo transformed the way that piece sat in my memory and it sounded odd. The notes are all there but the emotional inflections, if that is what they were, they sounded out of place. They made the piece for me more introspective than I think Mozart is at his best. There are exceptions of course. But, in general terms I don't normally relate to Mozart in the same way I do to romantic composers. Your point about emotions a century before him being stronger, well I would need you to provide proof of that. You are suggesting that human beings have some sort of emotional thermometer and for me that doesn't hold. I see no evidence for that. As the classical style was morphing into the romantic style, the music sounded more personal and the emotions maybe in brighter colours or tones.
Among cultural historians in Europe, the time of Mozart (roughly 1760-95) is sometimes called ‘the age of tears’. It started as a literary movement with Rousseau’s “Julie, ou la nouvelle Héloïse”. (1761) and Goethe’s “Die Leiden (!!!) des jungen Werthers”. (1774). It was the time of “Weltschmerz”. It influenced art, public life, politics, even courts of justice. It trickled down to the middle and lower classes. When Maria-Theresa died, people in the Austrian Netherlands ( = present day Belgium for the non-Dutch/Flemish) were weeping in the streets, including the men. And yes, it also influenced music. Let’s not forget that Rousseau was also a composer, albeit not one gifted with a musical talent like that of Mozart. Mozart’s “Lacrimosa” is the finest example ever composed in this style that was later called somewhat mockingly ‘sentimentalism”, but was in fact the precursor of the Romantic style.
Great to read Margreet, thanks for sharing
Excellent post. What I have been hammering away at is the distinction I think we all hear in Romantic music, especially late Beethoven, most of Schubert, etc. The classical period and even the Baroque certainly did express emotions and we heard them expressed within the idioms of the musical thinking of that era. Consider Purcell's "Dido's lament". This is very sad music and you have to be a stone not to be moved by it. However, we don't feel Purcell's pain here; we perceive the pain of a person in an opera; the composer hides behind the notes. Consider the opening extracts of the St. Matthew or St. John passions; we hear pain but we do not sense that this is Bach's personal pain. He like most of the Baroque composers express their ideas somewhat detached from themselves. The audience made no mistake and they felt pain and sadness, but they felt the pain of Christ and not J.S. Bach's pain. There are many sections in Mozart Requiem mass that are full of deep pain and sadness but again, speaking for myself, I don't hear this as Mozart's pain. He has imagined the pain of Christ and has imbued the score with painful sounds, not Mozart's pain. Then jump forward and listen to Sonata No. 26 in E Flat Major, Op. 81a , 3rd Mov. by Beethoven. Now we hear suicidal pain and it is ALL Beethoven's emotions, bubbling on the surface. When we hear the beginning few minutes of Beethoven's "Egmont" overture, we hear Beethoven's searing rage. The romantics wore their emotions on their sleeve and the Classical and Baroque composers did not. That's my point.
Hi! I have a question for you: why minor keys and chords are often used to express sadness and major keys and chords are used to express joy? I know there are a lot of pieces that don't follow this rule and that in other cultures (in african music, in chinese pentatonic music or in classical indian raga) the use of scales to express feelings is different but I'm talking in general... I asked this question a lot to my different teachers since I was a kid but
the answers they gave me did not completely convince me...
Leonardo Alejandro Reyna I know what you mean but that doesn't explain the question: is there any objective reason why composers since Renaissance (I think Dufay is one of the first example you can find online) started to use the minor third to express some feelings and the major to express others? I think this is a peculiarity of the third used as a consonance (in Machaut's time for example the third was used as a dissonance: his "Missa de Notre Dame" is beautiful but I think that with his use of octave and perfect fifth is not as expressive as Dufay)
That is a great question that probably is hard to answer, certainly different in different cultures. What to me is expressing the drama here, perhaps more than the A minor key, is the falling fifth, the understanding of intervals and affect was clear to any composer, even going into the 19th c, so a falling fifth always implies tragedy, if Beethoven goes down the keyboard, it is God coming to earth, or humanity hoping for it, if Haydn chromatically goes up, it is the struggle of man to come close to God. See how much context changed, only there!
great videos, thanks for adding them here!
AuthenticSound thanks!
Yousef Shadian thank you! I already saw the first video and I think it has an interesting point, but I wanted to hear another point of view... I know Jacob Collier, he's amazing! I will check his video about this topic, thank you very much. I think that maybe the context of armony and scales in classical music could be different than in jazz, for example the video by Adam Neely was much more about modal scales... If someone has a different opinion I would love to hear it
You must be joking? Your tempo.....is your choice correct?
Lots of tempo vids on the channel you might want to check them out!
well done, very nice (apart from some annoying movements with the left hand when is free, and some annoying self-complacent facial expressions here and there...;)
it's up to him to accept a slight criticism, and not up to you.
Thanks, glad you liked it. Sorry for the movements... At 46 one is too old to change :-)
lol, you are right, you play great and you should continue the way you like, don't allow my criticism to change you :) and that's true, if you have a teacher teaching you to mime like Marcel Marceau, then you will follow your teacher. I really don't know when it began this body language fad, but I think that if Mozart saw any of us pianists pulling faces, he would have thrown a bucket of cold water on our faces. Personally I never find Mozart music sad, but there is always something uplifting and relaxing in his music.
As I spend a lot of time working in digital audio workstations staring at graphic displays of waveforms, I oftern have to stop and remind myself to listen with my ears, not my eyes. "Video killed the radio star..."
Ridiculous as usual
your comment? yes.
@@AuthenticSound don’t worry, I discovered your channel a few days ago and I’ve had enough, I’ll stop commenting. YT keeps suggesting your videos but it’ll go away. In your favor: you personally take the time to respond to even a random commenter like me. Have a good one!
Bogus comment by an uncultured person R.J.Johnson
This A minor Rondo which influenced Chopin BTW is marked Andante by the composer, not Adagio, Lento or Largo. Average performances range from 9-11 minutes. This is 18 minutes, played at half-tempo. Must have been uploaded on April Fool’s Day. This one is “performed” at half-tempo, inexplicably. This has no forward motion or momentum of any kind. In 6/8 time the feeling should be 2 beats to the bar, not 6! This is a sacrilegious attempt by someone with 0 technique “playing” it on a clavichord, of all things. Mozart wrote this for the fortepiano. The whole thing should just vanish from UA-cam. Desecration.
Mozart did not compose for the clavichord....??? You traveled from Planet Ignorant to spread your knowledge onto this one? And of course in a 6/8 you are not supposed to feel 6 beats per bar, that's why it's called 6/8 :-). #ilovetheinternet