It's rare that we see expertise this awe-inspiring - especially on TH-cam. I opened up my own edition of the Sonata to read the music along with her presentation and everything she says makes so much sense that I just wanted her to go through the whole piece this way and open it up for me. Like she said: this is a piece many of us played in our youth and now a bit (or a lot) older return to fully appreciate and understand.
Mozart and his conversations. I maintain that his piano concertos are operas, just ones we're not privy to understand the words of. But you can certainly understand the crowd gathering, individual voices dominating from the crowd, scenes in the gardens with young lovers, and the return of the crowd - or whatever story Mozart's music is telling you. But I firmly believe he conceived his music vocally, not necessarily singing voices, but individual voices telling a story.
Sometimes his music is a voice telling a story, but it's a soliloquy, as complex as Hamlet's to be or not to be, with one voice arguing with the main claim and then arguing with the counterclaim and so forth.
Excellent advice and analysis for students of piano as well as lovers of music in general. Thank you for sharing with us your passion for, and deep insights into, Mozart!
@@whatdadogdoin9818 What about letting people live their life as they like unless it affects you? Really disgusting to find a comment like yours at this place...
partly learned it at youth. Never liked how I made it sound. Came back to it later. Got the loud runs right but still...hated the intro. Or ...what it sounds like when I play it. And now...at age 35...I find THIS! Its like Mozart sitting in the book, talking to me and suddenly it becomes very clear. Not only can I understand some parts better but I also learn that I didn't do it all wrong until here :D You have a HUGE talent for didactical approach. And of course...scary level of skills. Can not thank you enough. Where do we find the whole class?
The point of the opening melody is that the sonata starts as if it was a sceond theme followed by the end group. It doesn't belong to my favourite Mozart piano pieces though. I prefer the later, more chambermusically versed and more tehnically advanced Mozart. The second movement of his last piano sonata would be one example.
I hear her ages ago in the Sydney Piano competition...and thought when I heard her she should surely be the winner...alas, that is not the way competitions so often go
I recommend taking all this good advice with a pinch of salt. If it works to improve your own playing, it is good, if it doesn't work.....don't punish yourself. Mozart would probably be happy listening to less-than-perfect interpretations.
You are not authorized to have an opinion on Mozart, Mr. di Lasso. You have died 150 years before Mozart was born, so you can't actually know what you're talking about.
@@elizabethspence433 Orlande de Lassus (also Roland de Lassus, Orlando di Lasso, Orlandus Lassus, Orlande de Lattre or Roland de Lattre; 1532, possibly 1530 - 14 June 1594) was a composer of the late Renaissance, chief representative of the mature polyphonic style of the Franco-Flemish school, and considered to be one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
It’s so lovely listening to people who love Mozart talk about Mozart.
It's rare that we see expertise this awe-inspiring - especially on TH-cam. I opened up my own edition of the Sonata to read the music along with her presentation and everything she says makes so much sense that I just wanted her to go through the whole piece this way and open it up for me. Like she said: this is a piece many of us played in our youth and now a bit (or a lot) older return to fully appreciate and understand.
She is one of the most articulate person I've ever heard. Bravo
Mozart and his conversations. I maintain that his piano concertos are operas, just ones we're not privy to understand the words of. But you can certainly understand the crowd gathering, individual voices dominating from the crowd, scenes in the gardens with young lovers, and the return of the crowd - or whatever story Mozart's music is telling you. But I firmly believe he conceived his music vocally, not necessarily singing voices, but individual voices telling a story.
Sometimes his music is a voice telling a story, but it's a soliloquy, as complex as Hamlet's to be or not to be, with one voice arguing with the main claim and then arguing with the counterclaim and so forth.
She's a rare kind of person that can let you learn rather than force information down your throat. Wonderful video.
Excellent advice and analysis for students of piano as well as lovers of music in general. Thank you for sharing with us your passion for, and deep insights into, Mozart!
I love hearing her talk about music!
Incredible lesson! Very sad that it’s not full. I enjoyed every second of it !
Amazing! I was sad when it ended!
I've always struggled to play Mozart well and for sure this video shows how subtle the techniques are for creating that classic "Mozart" sound!
What fascinating teaching! Thank you. :)
Anyone who hasn’t watched her recording of Strauss’s Burleske, it’s incredible I can’t recommend it enough.
@@whatdadogdoin9818get a life
@@whatdadogdoin9818 No need to make such a correction. Hardly important to the music.
@@whatdadogdoin9818 how does it feel to be in the wrong side of history and to deny someone’s existence?
@@whatdadogdoin9818like you ever could, incel
@@whatdadogdoin9818 What about letting people live their life as they like unless it affects you? Really disgusting to find a comment like yours at this place...
this abosolutely helps me alot in perfectize my playing, thanks teacher alot !
partly learned it at youth. Never liked how I made it sound. Came back to it later. Got the loud runs right but still...hated the intro. Or ...what it sounds like when I play it. And now...at age 35...I find THIS! Its like Mozart sitting in the book, talking to me and suddenly it becomes very clear. Not only can I understand some parts better but I also learn that I didn't do it all wrong until here :D You have a HUGE talent for didactical approach. And of course...scary level of skills. Can not thank you enough. Where do we find the whole class?
Now, that’s a real teacher. Brava!
It's so good. I wanted more... xD
It's good. I want more too!
Sara, wonderful to hear you play and explain at the keyboard.
This is gold! Thank you!
I like the alberti bass and legato tricks ! Thank you :)
Brilliant, thank you tonebase!
Great analysis and very clear explanations of this excellent sonata. Thank yo so much for sharing all your knowledge.
Thank you, you brought up some wonderful learning tips.
Marvelous pianist and teacher!
The point of the opening melody is that the sonata starts as if it was a sceond theme followed by the end group. It doesn't belong to my favourite Mozart piano pieces though. I prefer the later, more chambermusically versed and more tehnically advanced Mozart. The second movement of his last piano sonata would be one example.
Very helpful lesson. This piece is deceptive in that it looks fairly easy, but it’s not-if you try to get all the sound/nuances right.
I hear her ages ago in the Sydney Piano competition...and thought when I heard her she should surely be the winner...alas, that is not the way competitions so often go
Wonderful
EXCELLENT!
Subtítulos en español por favor, gracias.
Where is the second part?
“La donna è mobile” in this Mozart sonata… I didn’t know lol
I don’t understand the beginning articulations . There are two notes slurs . She played a long one instead .
That depends on the edition you use, some have no slurs on the opening melody
The word 'simple' doing a lot of heavy lifting there. :)
I recommend taking all this good advice with a pinch of salt. If it works to improve your own playing, it is good, if it doesn't work.....don't punish yourself. Mozart would probably be happy listening to less-than-perfect interpretations.
That's true of any piano lesson. But Sara has wonderful insights, whether or not one can or chooses to absorb and execute all of her recommendations.
Amazing lady
Severa maestra
Hello. Certainly comments given in a very aptly way, appreciated...Would it be possible to post more music?
Wit?
The sound of the piano recording is ugly. The voice is nice.
Thanks for demonstrating your severe lack of vocabulary.
The ornament in “romantic style” (before the beat)? Please, no!!
2:08 "Mozart would absolutely expect that kind of thing." :)) How do we know?
It's explained in CPE Bachs "Versuch über die wahre Art das Clavier zu spielen" and other textbooks from that time.
Brutale, vulgäre, total inkompetente Pianistin, hat keine Ahnung von Mozart.
You are not authorized to have an opinion on Mozart, Mr. di Lasso. You have died 150 years before Mozart was born, so you can't actually know what you're talking about.
This must be sarcasm.
Sie haben recht!!! Viel zu aggresiv ----
@@elizabethspence433 Oh please. She plays it orchestrally and it's very much Mozartian. Who wants to hear lifeless and boring Mozart?
@@elizabethspence433 Orlande de Lassus (also Roland de Lassus, Orlando di Lasso, Orlandus Lassus, Orlande de Lattre or Roland de Lattre; 1532, possibly 1530 - 14 June 1594) was a composer of the late Renaissance, chief representative of the mature polyphonic style of the Franco-Flemish school, and considered to be one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
You need to change your hairstyle. Makes you look grandmotherly. How about making it straight ?
Wonderful