Most modern players’ interpretations feels like eating at a fancy restaurant, whereas this guys interpretation deals like eating kebab in by the Blue Mosque in Istanbul.
To really be ‘conversing’ with the audience in the salon Wim would have to be turned slightly towards his audience while playing. Not sure if this was done at the clavichord though, or only at later instruments.
Mr. Winters I am a native Turk and I can confidently say that the short figuration is so much more in tune with the Turkish character I was actually shocked when I first heard you just continue to amaze me, what a change in character with just a single change of playing. I mean I can almost hear this piece played with traditional Turkish instruments in the palace.
It sounds turkish on piano as well. Its tempo is just too fast cause You know....Mozart's a genius. It most definitely sounds arabian or something if its slowed.
@@carlosg3799 this is the speed mozart intended this piece to be played at, that's why it's called a march. Nobody can march to the other interpretations, they are too fast. Watch his other video on it he explains the rhythms of a traditional Turkish march. Once you understand it, there is no other way to listen to this masterpiece than this one.
This performer seems like the kind of guy who did his homework before recording this. He’s playing it as a performer AND a scholar. Mozart was a genius. My favorite is still Bach tho.
True artists make the timing their own. Mozart would kiss you on both cheeks, with a tear in his eye. Your patience is inspirational, and i love hearing your breath as you put your spirit into this recording. Godspeed
I’ve never realized that I and many others have been playing this wrong with the incorrect tempo. I never once thought that this march I was playing was too fast. And I’m in band. I should know about marches HAHA XD. Thanks for showing me and many others your interpretation. It puts the whole piece in a totally different light.
@@AuthenticSound Agreed. I believe his disdain for Mozart was borne out of how Mozart was played in the mid-20th century, more as museum pieces, crystalline and prosaic. Given his recent liberation through historical research, I feel Gould would be singing a different tune today. Looking at his performances of Mozart 24 and his other minor works, you can tell Gould saw something there.
Better than all fast versions played by crazy pianists. Pianists tend to play Mozart's Rondo Alla Turca with too much legato and so hurried up I cannot listen to musical phrasing. Wim's interpretation is enlightened, fairy, with no hurry. It seems I am listening to "Turkish" drums playing along the clavichord. Is brilliant and lively! Congrats.
My first thought was it begins with a wrong note. But I now understand. It really is so much more Turkish in character. Someone somewhere “forgot” to play the notes as written. But Mozart wouldn’t have written them that way if that was not what he’d intended. Bravo, sir.
It was actually common practice to improvise on others’ music back then, so the music was more so a suggestion than anything else. Turkish music was actually popular enough to have piano manufacturers back in those days outfit their pianos with percussion attachments to allow players to integrate percussive sounds into their music.
@@potats1770 No, turkish march is from 1783, the first piano was invented almost a century prior to that. Besides, turkish march is the final movement of a piano sonata.
Thank you for bringing the elegance of the Classicism, particularly Mozart. Back at my Conservatiry years, i was tought to play Mozart in a more moderate tempo, not too fast but not too slow.
Today i've had the chance to play multiple instruments in a museum in front of a small audience. One of these instruments was a clavichord from 1748. An old bitter guy criticized me afterwards for choosing Mozarts Turkish March for the clavichord. I would really like to show him your video as evidence, how well suited the instrument is :)
congratulations with your concert! the classical music world would be so amazing if we just again embraced the idea of communication of beauty again and ... simply enjoy each other's interpretation and message!
Was it, by chance, in a post office in the Twin Cities, Minnesota? Because I’ve visited there and there was a historic musical instrument museum inside.
Even though we have evidence that the long appogiatura was historically more accurate, I don't think one cannot deny that the short one fits the Turkish character of the piece much more. I think historically informed practice isn't about figuring out what the notation exactly meant, but to figure the character of the piece out as it was understood back then. I don't think scores were written back then to exactly tell another play what to play, otherwise music notation would have undergone a much more radically fast evolution. Rather, it was presupposed that the character of the piece be understood because of historical context, and that is the duty of the historical performer, to figure that out. In short: the character of the piece was meant to imitate Turkish music, then why not play it as one? I think we have all the reasons to do so. Opinion?
This indeed is a tricky one. I like that appo very much like I played it here years ago. Notation: ornaments were in constant progress which makes it hard for all to exactly nail down what the composer wanted; But overall, they were very precise in noting down what they wanted in a way that others would not have difficulties to understand the original meaning; Notation was embedded in a very strong tradition, something we completely lost and did not recover much since our HIP movement started. Finally, once performing, we must forget about everything, I made a video on that recently : th-cam.com/video/i1ltZrytrlA/w-d-xo.html
It isn’t supposed to have that appociatura, the old appociatiatura had a line going through the note so we think it is the appociatura but it is actually just a 16th note
But why wouldn't he use normal 16th notes if they were supposed to be played exactly as the other notes? If I compose, I'll use normal notes unless I want a different effect.
Azure James that’s what later editions did. Who knows why they did this, other than tradition. Appogaturas were often written like grace notes but the performer was expected hold them for half the value of the main note (or even longer). This was only used with appogaturas, as far as I know. In Francesco Barsanti’s Collection of Old Scots Tunes, in the song Cumbernauld House, he notates a normal run of 4 sixteenth notes, and not but 2 beats later, writes the same rhythm as appogatura-eighth-sixteenth-sixteenth because there the beginning note is an appogatura. I have heard the piece played with figure played both long and short, and they both sound absolutely fine to me. I suppose in those days they just understood certain nonharmonic devices as special and therefore notated them differently. But since in those days people cared less about the wishes of the composer and focused more on individuality of performance, they may not have thought as much about how the text would be realized.
It sounds even more Turkish when played using a Turkish stop, a pedal missing from modern pianos which caused all the keys to be struck at once. Historically informed performances of this piece are hard to come by.
The tempo actually makes sense to me. I’ve always found this piece to be a little “unfitting” at the typical speed it’s played, especially with the chords in the left hand that seemed to lack duration. A lot of my own improvisational ideas came from the chords (still unsure of a proper name) near the end of the piece. I thought it never quite captured the resonance of the lower bass notes when you run up them. Lovely performance.
A delightful performance, very much enhanced by the sound of the Clavichord. And the playing of the 'grace note' on first 1/8 note of the main theme (rather than as two even 1/16ths) is highly effective. Mozart was telling us to play it that way all along, but almost nobody seemed to notice! I'll point out that Wim is a veritable speed demon with his tempo here - compared to the slightly slower Gould version. ;-p
Your short appoggiaturas combined with the tone of the instrument gave me goosebumps. What a ravishing listening experience! I could march to this music and wouldn't stop for as long as it played
Wim, I've always wondered, why DO pianists play the appoggiaturas as four consecutive 16th notes instead of as you play? It's not just the rondo. It's in piano concertos, variations everywhere.
it is a march after all... can't really march to how fast those really good fact pianists play it lol that'd be a really fast like a bunch of ants high speed how they play is good to but i do appreciate this too
Mr Peco I love the speed he plays this. I can't do it fast when i play it. When I try going lets say Lang Lang speed, I end up mashing everything up tohmgether and it sounds like dying cats.
Sounds real good here! Haven't heard the grace note played that fast for this piece before. Normally it's half the note value of the next note. What tuning and temperament did you use? Also, did you play this with pedal?
Very interesting! When I was playing this the first time, more than 40 years ago, before my piano teacher corrected me, I've played it similar like you. Than she said: "No, no, no, Mozart meant, the 'Vorschlag' has to be played as a 16th note!" And all over this years, I'm asking myself, why Mozart don't wrote 4 16th notes?! So happy to see, I'm not the only one! (Hard to explain it in english, sorry, I hope you understand what I mean! - 'Wolferl' Mozart could not speak english. :-))
Thanks John! The appog. are a very interesting study case and to be honest, I think that the 18th c. practice might have indeed be just to play 4 16ths, I'll be making a short series on the ala turca in September or so. So here at that time I simply was following the general HIP rule, afterwards studied myself the issue. Again it's not easy, here is an older video that might interest you: th-cam.com/video/PAAeSTuwlvE/w-d-xo.html
It sounds much better than the standard interpretation. It is actually an allegretto rather than a presto vivace and it appears to follow the notation more accurately. Also I think that the clavichord tone sounds better than the modern piano tone. I wonder whether you will play the whole sonata like this.
Thanks Clive, glad you liked this! The whole sonata is online as well, I guess you'll find a link in the video, or just search on my channel for the kv number. I'm planning a revisit for this rondo, it works great with a long appog. as well (which probably is more in line with what Mozart might have wanted - the matter of appog. is not easy)
Me encanto esta version! La llevo escuchando varias veces. Es distinta de verdad! Ya me canse de lo que se conoce como la tradicional forma de interpretarla. Me.encanto felicidades. Voy a imitarte. Saludos desde Argentina
I remember learning somewhere that Mozart once played this work on an instrument that was equipt with drums and various 'bells and whistles.' I can imaging performing the work in Turkish style and correct tempo would have been manageable on such an instrument. I often wondered how Mozart would have managed it at the present day popular tempo! It sounds very authentic to me. Thank you.
Why do you play the acciaccatura instead of an appoggiatura? I can't find the original manuscript, but in every notation I see, it's written as an appoggiatura.
A bit late to the party, i love this rendition. As others have said it is a revelation to hear it played in this way but brings it to life. i thoroughly enjoyed it.
I remember learning about this instrument in school. However I forgot the name of it, been trying to find it for months now, then I accidently stumbled upon your videos and finally I found it, couldn't be more happy.
I'm listening to this while I'm reading my leatherbound copy of Sherlock Holmes and drinking tea, so I feel really fancy right now. Great playing by the way, I wish I could play harpsichord.
Whow, ya in mind I imagine the original piece Wolfgang's wrote supposed to be sounding like this in 1700s era where Clavi is still a common instrument to play not long before piano was invented. I understand now why Mozart's fingers could have full grasp of chord/bass note, the size of keyboard itself a bit smaller than nowadays piano. Good Job, Sir 🤗
This piece played slower on clavichord is fascinating and creates an entirely different mood. It’s less opulent of course. And less fast. It’s crunchy, intimate and more like a guitar playing this piece due to the instrument here.
I think this is likely the most accurate rendition. Are the first 3 notes of the melody written as grace notes in the original manuscript? They are 16th notes in every single score i've ever seen, but I always felt they were grace notes.
You just earned a new subscriber with that marvelous performance. Your tempos and ornaments were spot on and, in my opinion, fit the writing better than any other performance I’ve ever heard. I will admit, when you began I was thinking to myself, what on earth is up with ‘those’ ornaments...? Well, they perfectly fit the writing and style of the piece. None of us can be one hundred percent sure we are reflecting the composer’s intentions but I believe your scholarly analysis and performance practice to be closer than any other I’ve ever heard. Well done Sir.
I think you have the right to take the freedom to play the way you want. I totally respect the performer's right on interpreting the written score. On the other hand, people claiming in the comments section that this is a more accurate playing of the appoggiaturi, I disagree with you. An appoggiatura (without slash) and a slashed grace note are two different things. Here, these notes are written in form of appoggiatura not because they are to be played as short grace notes but because they are dissonant non-chord tones coming on the strong beat. In this case, they are notated without a slash and they are normally played with their full duration, stealing time from the following long chord tone.
Hi Eray, I'm totally with you here, the recording is made almost 4 years ago, and although it is very much in fashion in Early Music to play all such appo's short, it is hard to support that from the """sources""". This a la turca is planned for a rerecording, with long appo. In this particular case however, it does work so nicely...
I don't know of any examples of slashed grace notes before the Romantic Era, so is it possible that there is in fact no difference in notation before then? Perhaps you (or someone else) can direct me to an example (from an 'accurate' edition, as well, not a mid-20th-century one with articulations and dynamics all over the place).
I really liked your interpretation for the grace notes in the 'A' section. It's a nice contrast to the normal way of playing it. The clavichord definitely adds to it as well. Great Job!
Hi Daniel, a perhaps somewhat unexpected reply to this nice quote you were so kind to leave on my channel. The reason is this: I am working on the production of 3 CD's to celebrate my music recording n°100 for Authentic Sound on TH-cam. Along with that, will be published an e-book (available in hard copy too), where I very much would like to feature you, with this (and maybe some other) beautiful quotes. Like this, this publication will become something of the entire "community" so to say, something that would be a wonderful and maybe somewhat symbolic achievement of all of us. Without reactions and interactions like yours, I would never have had the energy to come where we are now... So thank you again for being part of this. Please do not hesitate to write me if you prefer not to be featured in the book with this quote. Of course, that would be no problem to me (although I'd like to have it very much :-) ). In case you haven't seen the latest update on this project that should be released December 1, 2016, here is the latest update link: th-cam.com/video/MF2XkNrGF0A/w-d-xo.html Take care and thank you again! Wim P.S. I would like to excuse me in advance in case you would receive this same message again for another reply on another video... or if you have sent in a personal note for this project. I will connect all of these at the end... but for now, it is so overwhelming to go through all the reactions, that it is impossible for me to remember who I already has asked permission...
Could you please explain why you play the apoggiaturas that way? I've always thought the way you play them is consistent with Mozart's notation, but why doesn't nobody do it that way?
I've just discovered your channel, and it is a pleasure to listen to your performance and to discover that I'm not the only one to play this piece in this way, althought when I was young I learnt it in the "classical" way, i.e. as a small bravura piece. First and foremost the short appoggiatura/acciaccatura gives more character to the piece, secondly the slower tempo emphasizes the "marchy-ness" and the rythm of the piece (it is a Turkish March, not a Turkish Charge). Some years ago i've threwn away also what they thaught me about the "Das wohltemperierte Klavier - Buch I Prelude II", with slow tempo is more grave and it is more in constrast with the first prelude of the book; I think they need to be intended as opposites, since they open the book (even the fugues are the antithesis of each other, legato vs. staccato). I find your channel really informative, many thanks for what you're doing!
It is funny to see comments where people say that there is more “Turkish character” in this performance. It’s as if people were thinking that the player was just thinking “hmmm how to put ‘Turkish character’ into this play?” The music is good on its own regardless what it’s called or what “character” it might have
Recently started messing around with this piece, playing it to a swing rhythm on classical guitar which results in a really exaggerated appogiatura in the main theme. Really interesting to hear your approach here, great performance , I think Mozart would approve.
Absolutely loved it, we all have to understand that music isn't meant to be played just as the score tells, we all have the right to give the piece our own feelling and style, thats the point, to feel it and dance along with the music and let it flow through your hands and body but not getting away too far of the theme and main idea of the composser. Felicidades!!! 👏🏻
What I've been wondering is why the appaggiatura here in the Alla Turca is most commonly played long but, written the same way, in the beginning of the first movement of Sonata No. 8 it is most often played short?
THANK YOU SOOOOOOOOO MUCH!!!!! This is EXACTLY ALLA TURCA!!!!!!!! And all what I played while in the music school was no more than : Una fantasia even I don’t know of whom but definitely not of Mozart. THANKS SO MUCH!!!!!
AuthenticSound Do you know that my 5 year old daughter liked this performance so much she said to me ” Mommy this sounds more beautiful than on our piano more ELEGANT” Can you believe that? I was really moved by this sweet characteristic. Thank you very much again, your channel is very good and it gives me knew ideas on how to introduce the beautiful world of classical music to my children. Thank you!
Oh wow. This is such a revelation. I simply hadn't thought to play this piece like this. It has just become a COMPLETELY different piece, superbly executed.
If you are interested in a more authentic tempo on the subject of "alla turca", I advise you to take further examination on Turkish Classical Type of rhythm we call "usul". You can find interesting ideas in your tempo worth listening.
It's interesting that if Mozart did want long appoggiaturas why would he write the part near the end such as at 4:24 with 16th if he could have written appoggiaturas assuming they are long? That could be one thing to argue the appoggiaturas are short
The appogiaturas in Mozart, unlike I perform them here probably should be played long. I just rerecorded the ala turca for upload soon to compare. Here is a 2017 I made on the subject th-cam.com/video/PAAeSTuwlvE/w-d-xo.html
Most modern players’ interpretations feels like eating at a fancy restaurant, whereas this guys interpretation deals like eating kebab in by the Blue Mosque in Istanbul.
Their baked alaska is to die for!!
Which is likely what the composers of these pieces intended for them to sound like. The sort of “fanciness” of this style of music is relatively new.
Özlettin haha
As it should be.
To really be ‘conversing’ with the audience in the salon Wim would have to be turned slightly towards his audience while playing. Not sure if this was done at the clavichord though, or only at later instruments.
Mr. Winters I am a native Turk and I can confidently say that the short figuration is so much more in tune with the Turkish character I was actually shocked when I first heard you just continue to amaze me, what a change in character with just a single change of playing. I mean I can almost hear this piece played with traditional Turkish instruments in the palace.
Burak Ünsal yea. This sounds like a march played by the Mehter during the siege of Vienna now
It enhances Mozart’s geniality even more by catching “ Turkish spirit “
2:02 to 2:29 imagine I was hearing a traditional turkish piece . Amazing!
Birader tek türk biziz galiba kusuruma bakma yeni gördüm yorumunu
@@solid_kerim3202 :D
I never thought this piece sounded "Turkish"...
Until now.☺️👍🏼
It sounds turkish on piano as well. Its tempo is just too fast cause You know....Mozart's a genius. It most definitely sounds arabian or something if its slowed.
@@carlosg3799 this is the speed mozart intended this piece to be played at, that's why it's called a march. Nobody can march to the other interpretations, they are too fast. Watch his other video on it he explains the rhythms of a traditional Turkish march. Once you understand it, there is no other way to listen to this masterpiece than this one.
This performer seems like the kind of guy who did his homework before recording this. He’s playing it as a performer AND a scholar. Mozart was a genius. My favorite is still Bach tho.
@@IsraelMedrano actually it’s just called rondo alla turca. I think the march label came later after Mozart
@@dozie85 yeah but the movement its inspired by the traditional marchs of Turkey
Something about the sound of a clavichord really brings out the authentic Turkish sounds
True artists make the timing their own. Mozart would kiss you on both cheeks, with a tear in his eye. Your patience is inspirational, and i love hearing your breath as you put your spirit into this recording. Godspeed
thank you so much for the nice words!
I'll be blunt - my first reaction was "So THAT"S what the darn thing is supposed to sound like!"
love it :-) !
My thoughts exactly! Most people play it so bad on the piano, usually too fast, and it sounds nothing like a turkish march, this was perfect.
My first reaction as well. I said wow! That sounds much better. It sounds right. The sound and character are honestly mesmerizing.
Same here :D
@@AuthenticSound Is it really how it's "supposed" to be?
This is the best rendition i've ever heard
Thanks !
Indeed! I second it. Truly 'authentic'!
Very true. It's the best!
I agree. I like it. The really fast ones are terrible and I find they make no sense with a march. Nor with what you see on the score.
Gould's is my favorite on pianoforte.
I’ve never realized that I and many others have been playing this wrong with the incorrect tempo. I never once thought that this march I was playing was too fast. And I’m in band. I should know about marches HAHA XD. Thanks for showing me and many others your interpretation. It puts the whole piece in a totally different light.
Thanks!
Szép
that was a wicked page turn lololol lmao @2:45 love it all
Thanks!
lol, lmao
Glenn Gould did the same tempo for this and people consistently criticise him for never knowing how to play Mozart.
Gould was a genius
@@AuthenticSound Agreed. I believe his disdain for Mozart was borne out of how Mozart was played in the mid-20th century, more as museum pieces, crystalline and prosaic. Given his recent liberation through historical research, I feel Gould would be singing a different tune today. Looking at his performances of Mozart 24 and his other minor works, you can tell Gould saw something there.
AuthenticSound is it because of his choice of tempi?
They were wrong
@George Fredric Handel ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
Better than all fast versions played by crazy pianists. Pianists tend to play Mozart's Rondo Alla Turca with too much legato and so hurried up I cannot listen to musical phrasing. Wim's interpretation is enlightened, fairy, with no hurry. It seems I am listening to "Turkish" drums playing along the clavichord. Is brilliant and lively! Congrats.
Thanks Lucas! a few episodes on the A la turca is planned for soon (or September)
El rondo no es lento
My first thought was it begins with a wrong note. But I now understand. It really is so much more Turkish in character. Someone somewhere “forgot” to play the notes as written. But Mozart wouldn’t have written them that way if that was not what he’d intended.
Bravo, sir.
It was actually common practice to improvise on others’ music back then, so the music was more so a suggestion than anything else. Turkish music was actually popular enough to have piano manufacturers back in those days outfit their pianos with percussion attachments to allow players to integrate percussive sounds into their music.
Right instrument, right tempo that is just perfect 👌
Wow, this piece has so much more character and texture on the Clavichord. Amazing!
I always thought that this sounded nothing like a march. Now, I realize that I'd never heard anyone play it right....
I know right? Usually everybody plays it super fast. That’s why I try playing it at a slower tempo as well.
Well, everybody play it at their sheets tempo, I think the sheets are bad.
What? It is for the piano
@@duckbear1892 turkish march was written when there were no pianos, only harpsichords
@@potats1770 No, turkish march is from 1783, the first piano was invented almost a century prior to that. Besides, turkish march is the final movement of a piano sonata.
I have to admit that this slower played version and with this instrument is really really excellent. I think best one I've heard on TH-cam.
I have included this version into my top 12 best classicals ever list
Praise the Lord, finally someone said that playing it faster than how it was written is not too great. It makes me happy. Thank you!
This just makes much more sense than any earlier version I heard!
thank you
Thank you for bringing the elegance of the Classicism, particularly Mozart. Back at my Conservatiry years, i was tought to play Mozart in a more moderate tempo, not too fast but not too slow.
Today i've had the chance to play multiple instruments in a museum in front of a small audience. One of these instruments was a clavichord from 1748. An old bitter guy criticized me afterwards for choosing Mozarts Turkish March for the clavichord. I would really like to show him your video as evidence, how well suited the instrument is :)
congratulations with your concert! the classical music world would be so amazing if we just again embraced the idea of communication of beauty again and ... simply enjoy each other's interpretation and message!
Was it, by chance, in a post office in the Twin Cities, Minnesota? Because I’ve visited there and there was a historic musical instrument museum inside.
Even though we have evidence that the long appogiatura was historically more accurate, I don't think one cannot deny that the short one fits the Turkish character of the piece much more. I think historically informed practice isn't about figuring out what the notation exactly meant, but to figure the character of the piece out as it was understood back then. I don't think scores were written back then to exactly tell another play what to play, otherwise music notation would have undergone a much more radically fast evolution. Rather, it was presupposed that the character of the piece be understood because of historical context, and that is the duty of the historical performer, to figure that out. In short: the character of the piece was meant to imitate Turkish music, then why not play it as one? I think we have all the reasons to do so. Opinion?
This indeed is a tricky one. I like that appo very much like I played it here years ago. Notation: ornaments were in constant progress which makes it hard for all to exactly nail down what the composer wanted; But overall, they were very precise in noting down what they wanted in a way that others would not have difficulties to understand the original meaning; Notation was embedded in a very strong tradition, something we completely lost and did not recover much since our HIP movement started. Finally, once performing, we must forget about everything, I made a video on that recently : th-cam.com/video/i1ltZrytrlA/w-d-xo.html
I like this version more and think it sounds more Turkish. I never knew about the argument about appociatura until recently.
It isn’t supposed to have that appociatura, the old appociatiatura had a line going through the note so we think it is the appociatura but it is actually just a 16th note
But why wouldn't he use normal 16th notes if they were supposed to be played exactly as the other notes? If I compose, I'll use normal notes unless I want a different effect.
Azure James that’s what later editions did. Who knows why they did this, other than tradition. Appogaturas were often written like grace notes but the performer was expected hold them for half the value of the main note (or even longer). This was only used with appogaturas, as far as I know. In Francesco Barsanti’s Collection of Old Scots Tunes, in the song Cumbernauld House, he notates a normal run of 4 sixteenth notes, and not but 2 beats later, writes the same rhythm as appogatura-eighth-sixteenth-sixteenth because there the beginning note is an appogatura. I have heard the piece played with figure played both long and short, and they both sound absolutely fine to me. I suppose in those days they just understood certain nonharmonic devices as special and therefore notated them differently. But since in those days people cared less about the wishes of the composer and focused more on individuality of performance, they may not have thought as much about how the text would be realized.
Suddenly, for the first time, I understand this piece.
great to read!
It sounds even more Turkish when played using a Turkish stop, a pedal missing from modern pianos which caused all the keys to be struck at once. Historically informed performances of this piece are hard to come by.
I usually think this channel plays classical music too slowly, but this piece in particular sounds so amazing at this tempo.
Bravo! A ese tempo es mucho más "turca" que con la velocidad que la tocamos hoy!
The tempo actually makes sense to me. I’ve always found this piece to be a little “unfitting” at the typical speed it’s played, especially with the chords in the left hand that seemed to lack duration. A lot of my own improvisational ideas came from the chords (still unsure of a proper name) near the end of the piece. I thought it never quite captured the resonance of the lower bass notes when you run up them.
Lovely performance.
Thanks Mr. Silver, great to read!
Estaba viendo Justo eso, las partituras dicen Allegreto y la mayoría las toca en allegro, se aprecia diferente.
A delightful performance, very much enhanced by the sound of the Clavichord.
And the playing of the 'grace note' on first 1/8 note of the main theme (rather than as two even 1/16ths) is highly effective. Mozart was telling us to play it that way all along, but almost nobody seemed to notice!
I'll point out that Wim is a veritable speed demon with his tempo here - compared to the slightly slower Gould version. ;-p
This slow version gives me new feeling!!!!And it sounds very beautiful and elegant while it is played slowly .
Thank you so much, Esther !
The best rendition of Rondo Alla Turca on YT!
Wunderbar!!! endlich kann man dieses mit allen richtig gespielten KURZEN Vorschlägen, wie auch türkischer March ja erfordert, hören. Vielen Dank!!!
You're welcome, glad you liked it!
Smack to the Left smack to the right
Smack to the left to the right to the left
ML God good one
I can’t unhear it now. It’s too late.
@@krishnaswainpiano4129 Here is the soultion, Play it in A major and all the Bs as B♭: th-cam.com/video/MNtYYuWILNE/w-d-xo.html
Mozart himself would laugh at this comment and appreciated it
Your short appoggiaturas combined with the tone of the instrument gave me goosebumps. What a ravishing listening experience! I could march to this music and wouldn't stop for as long as it played
It's more touching than with a piano... and I love this speed. Very classy.
What a treat!! I've seen a few of your videos but NEVER have I seen you play a song through and through. Thank you for sharing.
Beautifully played (and with the right appoggiaturas)!.
+The Broken Consort thank you for letting me know!
Wim, I've always wondered, why DO pianists play the appoggiaturas as four consecutive 16th notes instead of as you play? It's not just the rondo. It's in piano concertos, variations everywhere.
YESS. perhaps it is easier???
Behrad The Broken Consort isn't saying the opposite and I don't think they need to study music history since they're an early music ensemble. 🙄
It's just the ignorance of the players. Even the very famous ones.
it is a march after all...
can't really march to how fast those really good fact pianists play it lol
that'd be a really fast like a bunch of ants high speed
how they play is good to but i do appreciate this too
Mr Peco I love the speed he plays this. I can't do it fast when i play it. When I try going lets say Lang Lang speed, I end up mashing everything up tohmgether and it sounds like dying cats.
Clavichord: A guitar who came out to be a piano.
wut? it has a relativly similar mechanism to the piano. At least more similar than to the harpsichord lol.
A "Guitano"
@Manu Petaia I would have unterstanded his comment if it was a harpsichord.
@Manu Petaia Yeah, i'm planning on getting one.
You know that this instrument came about before the guitar, right?
Fine instrument! The piece sounds lovely on this clavichord. Nice performance too.
Thank you very much!
Those "appogiature" mark a long distance among any other version!! Super excellent Wim. Thank you!!
Sounds real good here! Haven't heard the grace note played that fast for this piece before. Normally it's half the note value of the next note. What tuning and temperament did you use? Also, did you play this with pedal?
Thanks, sounds so much better than all those thousands of recordings we've all heard on a grand Steinway piano.
Ich liebe den Klang dieser beinahe vergessenen Instrumente. Wie eine kleine Zeitreise! Danke Herr Winters!!! Viele Grüße aus Leipzig!
Why do the pieces you play on the clavichord ALWAYS MAKE SOOO MUCH MORE SENSE than on the modern piano???!!
because those pieces WERE written for the clavichord/harpsichord
I keep coming back to this recording! Nice job Wim! Groetjes.
Very interesting! When I was playing this the first time, more than 40 years ago, before my piano teacher corrected me, I've played it similar like you. Than she said: "No, no, no, Mozart meant, the 'Vorschlag' has to be played as a 16th note!" And all over this years, I'm asking myself, why Mozart don't wrote 4 16th notes?!
So happy to see, I'm not the only one! (Hard to explain it in english, sorry, I hope you understand what I mean! - 'Wolferl' Mozart could not speak english. :-))
Thanks John! The appog. are a very interesting study case and to be honest, I think that the 18th c. practice might have indeed be just to play 4 16ths, I'll be making a short series on the ala turca in September or so. So here at that time I simply was following the general HIP rule, afterwards studied myself the issue. Again it's not easy, here is an older video that might interest you: th-cam.com/video/PAAeSTuwlvE/w-d-xo.html
I was tonight that the first note was written as an apoggiatura because it was not part of the chord, that made sense to me.
It sounds much better than the standard interpretation. It is actually an allegretto rather than a presto vivace and it appears to follow the notation more accurately. Also I think that the clavichord tone sounds better than the modern piano tone.
I wonder whether you will play the whole sonata like this.
Thanks Clive, glad you liked this! The whole sonata is online as well, I guess you'll find a link in the video, or just search on my channel for the kv number. I'm planning a revisit for this rondo, it works great with a long appog. as well (which probably is more in line with what Mozart might have wanted - the matter of appog. is not easy)
Oh! That's exactly what this should sound like! I'm shocked with joy.
The Clavichord got some good sound, Wim Thank you
This piece has high sentimental memories for me. I love the sound of the clavichord. I also love this arrangement.
Lang Lang plays it as he is in a hurry to reach the train, but Wim Winters plays it elegantly
Me encanto esta version! La llevo escuchando varias veces. Es distinta de verdad! Ya me canse de lo que se conoce como la tradicional forma de interpretarla. Me.encanto felicidades. Voy a imitarte. Saludos desde Argentina
Thanks for listening!
I've never heard this on a clavichord before and with that ornamentation, made me hear this piece in a totally new way, thank you
Thanks for listening
I remember learning somewhere that Mozart once played this work on an instrument that was equipt with drums and various 'bells and whistles.' I can imaging performing the work in Turkish style and correct tempo would have been manageable on such an instrument. I often wondered how Mozart would have managed it at the present day popular tempo! It sounds very authentic to me. Thank you.
You can hear the boots marching in those chords at this correct tempo… mind blown.
Sounds like he's rocking an 8 bit synth. Sounds awesome!
Yes
Why do you play the acciaccatura instead of an appoggiatura? I can't find the original manuscript, but in every notation I see, it's written as an appoggiatura.
A bit late to the party, i love this rendition. As others have said it is a revelation to hear it played in this way but brings it to life. i thoroughly enjoyed it.
The slow like this is the correct way in my opinion too. Have you heard Glenn Gould play it on piano?
Congratulations it's the best interpretation of this piece i,ve hearded.
Woooow is the best interpretation I've heard in my short and miserable life...
Thanks!
Wim
I remember learning about this instrument in school. However I forgot the name of it, been trying to find it for months now, then I accidently stumbled upon your videos and finally I found it, couldn't be more happy.
Great to read and welcome here!
I've never heard of the clavichord before. it sounds like a mix between a harpsichord and a guitar. I like it. 🙂 very well done!
I thought it was the same as harpsichord, they sound similar.
I'm listening to this while I'm reading my leatherbound copy of Sherlock Holmes and drinking tea, so I feel really fancy right now.
Great playing by the way, I wish I could play harpsichord.
Thanks, Isidious Sam, Mozart and Sherlock Holmes (that I know quite well)! Nice to know that you had a good time with "my" Mozart!
all best,
Wim
Sorry but it’s clavichord
Insidious Sam Can you play the piano? If you can, you can surley play this
It's the same thing as a piano.
AuthenticSound is ur clavichord tuned cause you hit an a and it sounds like a g#
Whow, ya in mind I imagine the original piece Wolfgang's wrote supposed to be sounding like this in 1700s era where Clavi is still a common instrument to play not long before piano was invented. I understand now why Mozart's fingers could have full grasp of chord/bass note, the size of keyboard itself a bit smaller than nowadays piano.
Good Job, Sir 🤗
This piece played slower on clavichord is fascinating and creates an entirely different mood. It’s less opulent of course. And less fast. It’s crunchy, intimate and more like a guitar playing this piece due to the instrument here.
I wish this was Spotify so I could listen to it on repeat!
I think this is likely the most accurate rendition. Are the first 3 notes of the melody written as grace notes in the original manuscript? They are 16th notes in every single score i've ever seen, but I always felt they were grace notes.
Refreshing from the 10000 bpm piano prodigy versions of this. It actually sounds good for once
You just earned a new subscriber with that marvelous performance. Your tempos and ornaments were spot on and, in my opinion, fit the writing better than any other performance I’ve ever heard. I will admit, when you began I was thinking to myself, what on earth is up with ‘those’ ornaments...? Well, they perfectly fit the writing and style of the piece. None of us can be one hundred percent sure we are reflecting the composer’s intentions but I believe your scholarly analysis and performance practice to be closer than any other I’ve ever heard. Well done Sir.
I think you have the right to take the freedom to play the way you want. I totally respect the performer's right on interpreting the written score. On the other hand, people claiming in the comments section that this is a more accurate playing of the appoggiaturi, I disagree with you. An appoggiatura (without slash) and a slashed grace note are two different things. Here, these notes are written in form of appoggiatura not because they are to be played as short grace notes but because they are dissonant non-chord tones coming on the strong beat. In this case, they are notated without a slash and they are normally played with their full duration, stealing time from the following long chord tone.
Hi Eray, I'm totally with you here, the recording is made almost 4 years ago, and although it is very much in fashion in Early Music to play all such appo's short, it is hard to support that from the """sources""". This a la turca is planned for a rerecording, with long appo. In this particular case however, it does work so nicely...
I don't know of any examples of slashed grace notes before the Romantic Era, so is it possible that there is in fact no difference in notation before then?
Perhaps you (or someone else) can direct me to an example (from an 'accurate' edition, as well, not a mid-20th-century one with articulations and dynamics all over the place).
AuthenticSound x
Bravo! This is so convincing!
I really liked your interpretation for the grace notes in the 'A' section. It's a nice contrast to the normal way of playing it. The clavichord definitely adds to it as well. Great Job!
+Daniel Gowans Thanks, glad you liked it!
Hi Daniel,
a perhaps somewhat unexpected reply to this nice quote you were so kind to leave on my channel. The reason is this: I am working on the production of 3 CD's to celebrate my music recording n°100 for Authentic Sound on TH-cam. Along with that, will be published an e-book (available in hard copy too), where I very much would like to feature you, with this (and maybe some other) beautiful quotes.
Like this, this publication will become something of the entire "community" so to say, something that would be a wonderful and maybe somewhat symbolic achievement of all of us. Without reactions and interactions like yours, I would never have had the energy to come where we are now...
So thank you again for being part of this.
Please do not hesitate to write me if you prefer not to be featured in the book with this quote. Of course, that would be no problem to me (although I'd like to have it very much :-) ).
In case you haven't seen the latest update on this project that should be released December 1, 2016, here is the latest update link:
th-cam.com/video/MF2XkNrGF0A/w-d-xo.html
Take care and thank you again!
Wim
P.S. I would like to excuse me in advance in case you would receive this same message again for another reply on another video... or if you have sent in a personal note for this project. I will connect all of these at the end... but for now, it is so overwhelming to go through all the reactions, that it is impossible for me to remember who I already has asked permission...
By all means! Good luck! Again, really enjoyed hearing it!
Thanks for your enthusiastic reply!
Woow. The articulation and phrasing at 1:32 is wonderful. Delicious as a Turkish Delight with Rose and Pistachio
Very nice,original and interrsting performance.Thank You
Could you please explain why you play the apoggiaturas that way? I've always thought the way you play them is consistent with Mozart's notation, but why doesn't nobody do it that way?
I've just discovered your channel, and it is a pleasure to listen to your performance and to discover that I'm not the only one to play this piece in this way, althought when I was young I learnt it in the "classical" way, i.e. as a small bravura piece. First and foremost the short appoggiatura/acciaccatura gives more character to the piece, secondly the slower tempo emphasizes the "marchy-ness" and the rythm of the piece (it is a Turkish March, not a Turkish Charge). Some years ago i've threwn away also what they thaught me about the "Das wohltemperierte Klavier - Buch I Prelude II", with slow tempo is more grave and it is more in constrast with the first prelude of the book; I think they need to be intended as opposites, since they open the book (even the fugues are the antithesis of each other, legato vs. staccato). I find your channel really informative, many thanks for what you're doing!
Great to read Elia!
It is funny to see comments where people say that there is more “Turkish character” in this performance. It’s as if people were thinking that the player was just thinking “hmmm how to put ‘Turkish character’ into this play?” The music is good on its own regardless what it’s called or what “character” it might have
StopFear you don’t have “character”. Haha. Just kidding
5 minutes of Alla Turca!
LOVE IT!
Recently started messing around with this piece, playing it to a swing rhythm on classical guitar which results in a really exaggerated appogiatura in the main theme. Really interesting to hear your approach here, great performance , I think Mozart would approve.
Thank you!
awsome! Thank you for bringing new notes to my attention. I never 'heard' that much right handply.
Love this!!....interesting that Glen Gould was hashed by the critics when he released his recording of this, that is about the same tempo.
Absolutely loved it, we all have to understand that music isn't meant to be played just as the score tells, we all have the right to give the piece our own feelling and style, thats the point, to feel it and dance along with the music and let it flow through your hands and body but not getting away too far of the theme and main idea of the composser. Felicidades!!! 👏🏻
Thank you very much for letting me know, I really appreciate (and such nice words energize me!)
best wishes,
Wim
thank you for playing at enjoyable speed (Tempo), god bless
What I've been wondering is why the appaggiatura here in the Alla Turca is most commonly played long but, written the same way, in the beginning of the first movement of Sonata No. 8 it is most often played short?
I will do a remake of the ala turca, came to different perspectives, video is for coming weeks, months
this definitely sounds turkish
even though i never heard other turkish traditional song
it just sounds 'older' ya know hat i mean i guess God Bless
You play with such precision and confidence! Amazing interpretation!
thanks!
I only just found this, but I have to say, it's magnificent.
THANK YOU SOOOOOOOOO MUCH!!!!! This is EXACTLY ALLA TURCA!!!!!!!! And all what I played while in the music school was no more than : Una fantasia even I don’t know of whom but definitely not of Mozart. THANKS SO MUCH!!!!!
Thanks!
AuthenticSound Do you know that my 5 year old daughter liked this performance so much she said to me ” Mommy this sounds more beautiful than on our piano more ELEGANT” Can you believe that? I was really moved by this sweet characteristic. Thank you very much again, your channel is very good and it gives me knew ideas on how to introduce the beautiful world of classical music to my children. Thank you!
I listened to this a thousand times. No, just one.
Oh wow. This is such a revelation. I simply hadn't thought to play this piece like this. It has just become a COMPLETELY different piece, superbly executed.
Turkish delight! With compliments from Wim Winters x
If you are interested in a more authentic tempo on the subject of "alla turca", I advise you to take further examination on Turkish Classical Type of rhythm we call "usul". You can find interesting ideas in your tempo worth listening.
I have listened many times over and over i love it!
Thank you!
what a difference the correct appoggiaturas make!
Ornamentation in general has a huge impact.
Now this is the authentic sound!
Beautiful arrangement, Wim. Bravo!
Subliminal Sound Engine Official thanks for the compliment, and for your subscription!
w.
This is THE way it should be performed! Haleluiah, bravo!
Bravissimo Maestro Wim!
Thanks Paolo!
It's interesting that if Mozart did want long appoggiaturas why would he write the part near the end such as at 4:24 with 16th if he could have written appoggiaturas assuming they are long? That could be one thing to argue the appoggiaturas are short
The appogiaturas in Mozart, unlike I perform them here probably should be played long. I just rerecorded the ala turca for upload soon to compare. Here is a 2017 I made on the subject th-cam.com/video/PAAeSTuwlvE/w-d-xo.html
Thanks for your interpretation. One of my professor has told me the exactly the same thoughts as you played in this video! 🤩🤩😍😍