It is far from easy to make that rondo sound convincing after the andante but Mme Pires makes sense of Mozart's choice. A beautiful performance, singing, speaking playing, total communication.
All 18 Sonatas are great, but I'd single out this Sonata as well as the astonishing A minor Sonata as Mozart's greatest solo piano works. And this performance is excellent!
Merci Liliane Si vous demandez si j'ai d'autres interprétations de Maria João Pires, la réponse est oui : playlist th-cam.com/video/oWzCUOMDYW4/w-d-xo.html
She is remarkable ! Again like Haebler and Uchida a delight . Pletnev and Gilels in this sonata frightfully slow tempi and long uncrisp tones. Amazing that the oldGreat russian school offers nothing in Mozart.Horsowsky got it right back in the 1930's !
She plays the K533 with great panache. But, let us be honest here: she is NOT playing "Allegro". Not even close. She is playing a few notches faster than Allegro. I doubt whether Mozart's own clavichord could have been played this fast? I really doubt it. Faster articulation took time to develop and it did eventually come about but many decades later. So, why play it so fast? I think that such speeds with Mozart and Haydn, maybe even Beethoven as well, should be re-thought. The direction over the last 80 years is faster followed by faster. This does not mean that it is the right direction to take.
@@manuelrodrigueslx6883 well, artistic interpretation is what all performers strive for. Some more, some less fresh perspectives. But my comment was more about the long term trend towards higher speeds. I recently fell in love with the 83 year old Shura Cherkassky. His live performance was spellbinding. He knew how to play fast but in Chopin, for example, he held back, allowed the music to breathe. He was playing the role of anti-Horowitz. So, speedy Mozart seems to be following a long trend towards higher velocity. I question the resulting music making.
@@fredhoupt4078 I understand what you say, but what matters artistically is the result of musical quality. In the jazz musical form, the interpretations / improvisations move away "a lot" from the original, adding artistic recreation to the original... Thanks for this interesting conversation.
@@manuelrodrigueslx6883 Another point can be discussed and I forward the example of Glenn Gould's recordings of some of the Mozart solo pieces. The exaggerations in tempo and overall speed are among the most extreme that Gould shared with us. To this day I would guess that the majority of pedagogues maintain their complete rejection of Gould's rather hilarious speeds. Gould knew exactly how to play Mozart in the "normal" sort of way and he refused to tow the line. Although I'm a big fan of his I think that even for him, his Mozart tempos are on the far side of the moon. They leave me wondering what he was trying to convey to us about the music? I am left speechless. Your thoughts?
Questa Pianista non esegue, FA MIRACOLI!
ピレッシュのこのテンポが好きです。ｋ533は今までブレンデルを聴いていましたが.ピレッシュとブレンデルを交互に聴きます.｛幸せだなあ！！）
0:00 1st movement
10:00 2nd movement
20:14 3rd movement
Elegant, poised, yet poignant (in the searching Andante) - Mozart playing of a very high order
Just WONDERFUL! 💜🎶
This is my favorite version!
It is far from easy to make that rondo sound convincing after the andante but Mme Pires makes sense of Mozart's choice. A beautiful performance, singing, speaking playing, total communication.
All 18 Sonatas are great, but I'd single out this Sonata as well as the astonishing A minor Sonata as Mozart's greatest solo piano works. And this performance is excellent!
It’s my favorite version, too. Just the perfect mix of depth and elegance.
She is one of the very best mozartists out there. Bravo!!
Une technique prodigieuse. Merveilleuse interprète de Mozart. Y a t -il d’autres enrgistrements svp ?❤
Merci Liliane
Si vous demandez si j'ai d'autres interprétations de Maria João Pires, la réponse est oui :
playlist
th-cam.com/video/oWzCUOMDYW4/w-d-xo.html
@@manuelrodrigueslx6883 9
She is remarkable ! Again like Haebler and Uchida a delight . Pletnev and Gilels in this sonata frightfully slow tempi and long uncrisp tones. Amazing that the oldGreat russian school offers nothing in Mozart.Horsowsky got it right back in the 1930's !
Heinrich Neigaus!
This is amazing but maybe a bit too fast.
Ironic that Liszt should find anything too fast.
What if i found it fast? Would you object to that too my dear sir?
@@johannsebastianbach3411 yep, way too fast. Where's the music?????
*no.15
She plays the K533 with great panache. But, let us be honest here: she is NOT playing "Allegro". Not even close. She is playing a few notches faster than Allegro. I doubt whether Mozart's own clavichord could have been played this fast? I really doubt it. Faster articulation took time to develop and it did eventually come about but many decades later. So, why play it so fast? I think that such speeds with Mozart and Haydn, maybe even Beethoven as well, should be re-thought. The direction over the last 80 years is faster followed by faster. This does not mean that it is the right direction to take.
The question is whether it is artistic interpretation / recreation or not...
of course it will come out different from the original... obviously...
@@manuelrodrigueslx6883 well, artistic interpretation is what all performers strive for. Some more, some less fresh perspectives. But my comment was more about the long term trend towards higher speeds. I recently fell in love with the 83 year old Shura Cherkassky. His live performance was spellbinding. He knew how to play fast but in Chopin, for example, he held back, allowed the music to breathe. He was playing the role of anti-Horowitz. So, speedy Mozart seems to be following a long trend towards higher velocity. I question the resulting music making.
@@fredhoupt4078
I understand what you say, but what matters artistically is the result of musical quality.
In the jazz musical form, the interpretations / improvisations move away "a lot" from the original, adding artistic recreation to the original...
Thanks for this interesting conversation.
@@manuelrodrigueslx6883 Another point can be discussed and I forward the example of Glenn Gould's recordings of some of the Mozart solo pieces. The exaggerations in tempo and overall speed are among the most extreme that Gould shared with us. To this day I would guess that the majority of pedagogues maintain their complete rejection of Gould's rather hilarious speeds. Gould knew exactly how to play Mozart in the "normal" sort of way and he refused to tow the line. Although I'm a big fan of his I think that even for him, his Mozart tempos are on the far side of the moon. They leave me wondering what he was trying to convey to us about the music? I am left speechless. Your thoughts?
@@fredhoupt4078
"his Mozart tempos are on the far side of the moon"
the "side" can be very far... as long as the "meaning" of the music is enriched...
Way too fast.