You have to play slow on a clavichord it's not a polyphony instrument like a piano. Clavichords have a limit number of notes played at once. Strings are shared in other words one string maybe used for more than one note. 73
@@ronb6182 Actually Wim’s clavichord isn’t gebunden (sharing notes strings), instead it’s bundfrei, each tangent has independent courses of strings to strike, QED no share notes. As to the speed, Allegro was slower in 18th century, when Czerny published his works mid 19th century of J S Bach he specifically wrote that Allegros slower than present.
@@Renshen1957 ok thanks I know some do share strings. Maybe I should specify a fretted clavichord which more than one note uses the same string. I looked into my theory and actually heard that type of clavichord. I never actually played one but I did play harpsichords and the early piano. Some music scholars call them forte pianos. 73
This is so rare and I appreciate this so much... to be able to hear the spirit of the song on the instrument in which it was written... it paints a different picture then played on the piano. This was such a great time capsule using the Candelabra, this was brilliant and fantastic thank you so much
Respect each instrument, they all have their pros and cons And every composer comes along in okay with that history Beethoven wrote music for piano, on a piano, made famous on a piano for sure Mozart sits between in an orchestra Bach is 100% harpsicord
I really like your interpretation of this piece. You truly make it sound "authentic". Tempo, choice of instrument - all spot on - and on top of all you even put some "improvised" bits and ornaments in there when you played the repeated parts - and I really think more people should dare to do this since this is what they did back then.
Wow! Words are totally inadequate to describe this. I couldn't believe my luck when I saw this had been posted. I knew it would be good but never imagined it could be this good. For beginners? Well Mozart was playing at age three and he had a great sense of humour so why not? There are some brilliant Mozart recordings that have stood the test of time - Dennis Brain playing Horn Concertos and Herbert von Karajan/ Berlin Philharmonic playing Symphony 40 for example - and Wim playing this (and the other Mozart & Haydn sonatas we have heard and are hopefully yet to hear) is easily in this league. It sounds so effortless and beautiful and natural that one could think Mozart had written it for Wim and the clavichord. Well done and thank you, thank you, thank you.
Absolutely not! I firmly believe every word I have written and I am sure I am not the only person to hold these views. You are an excellent musician and appear to have a natural flair for this music. You play with a wonderful freshness and vibrancy as I have stated elsewhere. Don't let modesty hold you back, you have the potential to be as well known as any famous musician if you want to. If you believe in yourself you can do it.
This sonata, better known as the "sonate facile", a title given in a publication of 1805, is one of the later sonatas Mozart wrote. I give you first the index: 0:09 Allegro 4:36 Andante 9:29 Rondo Allegretto In his own index, Mozarts titles this work as "Eine kleine Klavier-Sonate für anfänger", or, "A little keyboard sonata for beginners", dated 26 June 1788. The translation is not without problems, and definitely the translation of the NMA as 'piano-sonata', is without any historical reference, which is so surprising for this otherwise so easy to recommend institute of knowledge, accuracy and carefulness. Anyway, we talked about this before, and we will again, what the definition of the German term Clavier is, and in which area it had which meaning. I am not an academic, so I do not have an overview of all publication on this interesting topic. I would love to read more on this, especially in the Viennese period, since the situation of the Bach tradition is rather clear (Clavier = clavichord), so don't hesitate to let me know what sources you have. So, Mozart wrote this sonata for real beginners. Did he have a clue what a beginner was? Or, what one could expect from a normal gifted human being starting with his/her musical education? Or do we misinterpret the term "Anfänger" (beginners). I don't want to state here that this sonata is a really difficult one to play, no, but in general, if I recollect my five years or so in the basic music education as a piano/organ teacher, I could think of only one little boy that would have been able to play this sonata more or less after two or three years of study. Then, I suppose, one is still a "beginner", but in the case of this boy, he was extremely gifted, played some Bach in his first year in a way, well, so well articulated, phrased, metrically accentuated, ... all by himself. He was constantly moving on his bench, sometimes even trying to sit upside down, and his mother, almost depressed about so much activity and cleverness, entrusted me stunning details, under which that he was able to read the newspaper titles at the age of four, even without helping him much to learn the letters or their meaning. I had only the chance to touch this boy's talent, and when I quit my teaching job one day, the mother refused to come with his child to the new class, and I lost definitive track when she refused my offer to teach him in private for free, the rest of his adolescence. All to say that this sonata is not for the average, even not the very good beginners. But for whatever beginner Mozart had in mind, he did a very clever job. First by writing a so simple but stunningly beautiful piece of music. But also in combining different techniques "in small". Scales, right hand, left hand, alberti basses, broken chords, trills, independence of both hands (e.g. bar 18 etc), modulations, ... But the endings of part 1 and 3 are particularly difficult. It might be my problem, but I find the closing of the first movement hard to play. The right hand has to jump two octaves, the left hand not even one full octave. And the last unison note is again divided between both hands, differently than one feels to be natural. Mozart did this on purpose, that's so easy to feel, as in the closing of the last movement, less obviously than in the first one, but for sure a passage that must be looked at carefully. The expression of the first part is to me of a childlike happiness, innocent, spring, blue sky, butterflies flying everywhere in a meadow with fresh spring flowers in all colours. Details, careful accentuation and articulation, choice of movement in line with this feeling is essential to me for this first part. The second part is the "telling-the-story"-movement. The tempo ensured by the left hand, ever ongoing, and the right hand, constantly telling, telling, telling. I might have chosen a somewhat fast tempo according to Mozart's choice for "andante", leaning perhaps more to allegretto, but that is not as simple as it looks. Notation and tempo choice are connected, the tempo word is influencing this connection, not changing it in essence. Not easy to explain in two words. Something I would like to elaborate more. Sometime... The third part a playing of children, jumping and imitating, full of joy, and childlike feelings, always big and absolute, like the wonderful modulation to A minor. It should not be played too fast to my feeling, giving room to all elements to give their place they deserve and to the audience the time to capture it in real-time! Thanks for watching (and subscribing!) Wim www.authenticsound.be
AuthenticSound. I believe that the term Klavier in German is a general term for keyboard instrument. In today's language it generally refers to a piano, but it has also been used for other keyboard instruments. So for example JS Bach's 'Well Tempered Clavier' was written when the standard clavier was a harpsichord or clavichord. I believe that an organ can also be considered a Clavier.
The sonata is not "facile" when played at the usual modern tempo. I have been trying very hard (for years) to master it in such a speed and just cannot. There are so many awkward sections in it, especially the first movement. However, at this speed, I believe I have a chance at getting it.
Clavier=Clavichord in the time of C P E Bach's tradition possibly, even then with only a few pieces with bebung indications in among his works. In the J S Bach's tradition, clavier=generic for keyboard instrument definitely. J S Bach's Clavieruebung printed publications list Part 1 (no specific instrument), Part II Harpsichord with 2 manuals, Part III Organ mit pedal. The unrelated ClavierUebung known now by the nickname, "Goldberg Variations" likewise, Harpsichord with 2 manuals. Outside of these references of Part II and the Goldbergs, the G minor Toccata has in the manuscript Forte and Piano. (This has lead some to believe it's an organ work for manuals, but J S Bach in organ works generally reference manuals by name, or stops infrequently. I would almost accept the argument that the Partitas were intended for the clavichord (The Trinity of Keyboard put forth), except that the "French Suites" and the "English Suites" all in their manuscript titles and in the student copies use German, French, and in one instance Italian names for the Harpsichord which likewise had contemporary usage by other individuals in J S Bach's sphere. In 1745 an inventory of Zacharias Hildebrandt and his workers/apprentices of the workshop built in their spare time (not when building organs) uses the term for Clavir for inexpensive instruments 10-15 Reichthaler (6 each, assumed to be clavichords) in contradistinction to spinets 24 Reichthaler (5 each) and harpsichords from 100-185 Reichthaler (5 each). One can logically conclude that the clavichords had a range of either C-c''' or C-e''' for the 14-15 Reichthaler, C/E-c''' short octave bass instruments for the price 10 RT and not one into the price range of an FF=f''' or elaborately decorated instrument. That the short octave bass was still likely common enough as C P E makes reference in his essay as to a good clavichord extending from the very least from the great C upwards to the three line e (to play other instruments parts). That's not to say that low FF instruments didn't exists (to the contrary), but "great C upwards" infers that the short octave bass instruments were still common enough. Also in terms of production, the spinet harpsichord and the grand form of the instrument, although slightly and excessively more costly, were no less common numerically.
Great Job! I heard this sonata like more than 1000 times and played it too. The best version I ever heard is Alexei Lubimov´s version in fortepiano. The andante in Lubimov's version is so touching I wanna cry. th-cam.com/video/02Q6T_AG8u4/w-d-xo.html
Once again you have demonstrated a lightness and clarity of articulation seldom heard by performers on any keyboard instrument. Your ornamentation and vitality give a very youthful performance. Maybe this is what was intimated in the 1805 title? Who knows, but you do give it a feeling of impish joy. Never stop! I look forward to all your performances.
Rollinglenn Thank you very much for this reaction, I'm really glad to read that you enjoyed this recording. It are reactions like yours that keep me going!
Hi, quick question if I could use some of the nice quotes you are so kind to have left on my channel, to be featured in a book that will accompany 3cd's to celebrate music prod n°100of this channel? Would be awesome...thanks in advance! Wim
Of course you may! By the way, one of my projects has been reviewed recently. I contributed piano accompaniments, translations, and vocal coaching. I have sent it in a message to you.See what you think of it. One last thing; if I was not recuperating at home from a bone infection, I would have loved to be involved in your CD project. Maybe on your 200th production CD? I should be ready to apply to assist you by then. My best wishes for you and your family as well all of your musical endeavours. Glenn
I agree this sonata is not as facile as it seems. While I believe the first and second movements, to be two of the greatest pieces of musical history, regardless of technical references. Particularly for me the Andante possess such dept that you couldn’t imagine in such a simple tune, let’s say. Quoting Einstein “Whenever the answer is simple, God is answering” I believe this Andante is just that. As final remark after playing this piece several times in a weekend, somehow I released an old hatred , and turn it not as mush as love, but a longing, ready to be handled and overcomed. This music is powerful indeed, it saved me months of the therapy. Thanks Winters, the speed sounds just right!
omg i love everything about this interpretation! The choice of instrument and the tempo! It is just spot-on for me!!!!! Cannot listen to this piece without this interpretation in mind
your ornamentation and articulation are beyond belief you are a gift to our generation interpreting in your unique way bach to bethoven everything is just exquisite! and your joris potvlieghe clavichord is extraordinary.
This...is a nice compliment to read on a Monday morning! Thank you so much Charles, I'm really glad that I could deliver a little bit of beauty! best wishes, Wim
That first movement is such a gem itself and this is the greatest playing of it ever. No words could ever describe how immaculately exquisite and beautifully you play this. Instead, I'm at a loss for words because Im taken over with joyous serenity.. Please never take this off your channel. Thank you!!
Must feel so beautiful Anyone else just play their piano in the dark? Nice ambient feel you got there dude And is it just me or does this sound like something other than C major?
Excellent pacing, ornamentation and recording. This is authentic Mozart for those who are tired of the Michael Bay-esque "Period" style that emphasizes intensely choreographed speed and action instead of soulful lyricism and musicality that only emerges when the performer has freedom to extemporize with ornamentation and even improvisation as was the norm in Mozart's day. Thank you!
Amazing performance, Grigory Gruzman is one of the few players on fortepiano who adds nice ornaments like you do, a very common practice in Baroque and Classical music era. Especially when it's about repetitions! Very well played. The speed for 2nd movement is perfect cause Andante is not necessarily a mean for "slow", the first movement was very interesting indeed! A different and an authentic performance, like the name of your channel, an authentic sound. Should be nice if you would play some of my piano pieces some day.
I love your interpretation. Fantastic ornamentation. I am learning this piece now and I like to use the harpsichord, organ, and 'guitar' sounds on my Yamaha Clavinova to approximate playing a period instrument. I would love to someday own the real thing. Until then I can live vicariously through your videos.
I'm studying exactly the first moviment of this sonata. Your channel is fantastic and I loved your interpretations of Bach. This execution, in particular, is magnific, and I really believe that this is the more faithful (or don't would be called "Facile"). However, I still prefer a bit more fast. Edit: I listened after any months, and, today, I prefer this version. How it's possible? 😂
I'll try out as well on Clavinet! ( electric clavichord, Stevie Wonder's favourite instrument...). I do not own a real Clavinet (yet), but a really nice sampled version in my digital piano. Similar tone, but you can adjust the pickup settings, add little bit tube everdrive for the preamp. I did it already with Mozart Fantasy in D minor.
I like the way you slowed the first Allegro down, the way you ornamented the ritornellos (Was it a rule even in Classical period? I know it was a rule in Baroque one) and the way how you played the apoggiaturas longer than the usual. What's the tuning your clavichord is settled, please? Thanks for sharing this great performance.
Bravissimo! And also the choice of the tempo in the first part of the sonata is correct. The pianists must to understand that a tempo very fast it is not correct for this sonata.
You're like Mr. Arrau! :D You played the sonata not that fast/slow. Just in enough tempo! Now I understand that, it's not necessary to follow 120 bpm on the metronome. To be honest, every time I play pieces and I play them fast, I hate it!
Truly a most amazing instrument! I wonder, perhaps, if you would be able to Mozart's Sonata in a minor K. 310? Great job with the touch and ornamentation!
I would absolutely love to hear KV 19d, likely by Maria Anna and not Wolfgang, interpreted by you and a partner, or even recorded over yourself. No doubt it would sound magical!
@1:20 that was really funny I heard a piece once, the first 2 bars were Mozart's song, Then the rest was entirely something else I'm sure it came before Mozart's piece but Just got me thinking
You play here Allegro at about quarter-note 160 double-beat and Andante at about quarter-note 102 double-beat. Isn't it a bit fast? Or maybe it's indicated in the scores?
Rond minuut 2:25-2:26 meen ik een triller waar te nemen die op de hoofdnoot begint, is dat een bewuste keuze? Alvast bedankt en complimenten voor de vele mooie opnames.
Dag Martin, bedankt voor je feedback ! In dit geval wel, lange trillers vind ik rustiger beginnend met de hoofdnoot (je leest daar ook wel iets over, maar uit mijn hoofd weet ik nu niet waar, alleszins niet bij Leopold Mozart...). Moet ook zeggen: ben nu intenser bezig met de versieringen dan toen (en het wordt er daardoor alleen maar complexer, lees: boeiender door) !
![[MV] A leap of faith...ความเชื่อใจครั้งสุดท้าย (From "Petrichor the series")](http://i.ytimg.com/vi/U1piZH2CNXA/mqdefault.jpg)
This is the slowest and best interpretation of this Sonata I have ever heard! Incredible!
You have to play slow on a clavichord it's not a polyphony instrument like a piano. Clavichords have a limit number of notes played at once. Strings are shared in other words one string maybe used for more than one note. 73
@@ronb6182 Actually Wim’s clavichord isn’t gebunden (sharing notes strings), instead it’s bundfrei, each tangent has independent courses of strings to strike, QED no share notes. As to the speed, Allegro was slower in 18th century, when Czerny published his works mid 19th century of J S Bach he specifically wrote that Allegros slower than present.
@@Renshen1957 ok thanks I know some do share strings. Maybe I should specify a fretted clavichord which more than one note uses the same string. I looked into my theory and actually heard that type of clavichord. I never actually played one but I did play harpsichords and the early piano. Some music scholars call them forte pianos. 73
Playing by candlelight- how lovely!
This instrument gives to this sonata n. 16 a warmness and an intimacy that wouldn't have on a modern piano, I think
Suddenly I not only understand this piece, but I actually like it.
I like how you add all of those great ornamentations on the repeats!
完美的演奏！裝飾音也加得恰到好處 感謝您的演奏
This is so rare and I appreciate this so much... to be able to hear the spirit of the song on the instrument in which it was written... it paints a different picture then played on the piano. This was such a great time capsule using the Candelabra, this was brilliant and fantastic thank you so much
Old instruments should make a comeback... piano sounds good for other things but these classicals sound best on the original instruments
Yessss mozart's music sounds best on harpsichord.
Didn’t Stevie Wonder play one of these?
Respect each instrument, they all have their pros and cons
And every composer comes along in okay with that history
Beethoven wrote music for piano, on a piano, made famous on a piano for sure
Mozart sits between in an orchestra
Bach is 100% harpsicord
@@aycc-nbh7289 no, he came along later
Fender Rhodes or something like that
Madison Hang I thought he played the Hohner Clavinet.
My 1 week old son just loves to smile at this version, god bless you Mr. Winters and all of your work
I really like your interpretation of this piece. You truly make it sound "authentic". Tempo, choice of instrument - all spot on - and on top of all you even put some "improvised" bits and ornaments in there when you played the repeated parts - and I really think more people should dare to do this since this is what they did back then.
I cant stop listening, it is simply amazing
Wow! Words are totally inadequate to describe this. I couldn't believe my luck when I saw this had been posted. I knew it would be good but never imagined it could be this good. For beginners? Well Mozart was playing at age three and he had a great sense of humour so why not? There are some brilliant Mozart recordings that have stood the test of time - Dennis Brain playing Horn Concertos and Herbert von Karajan/ Berlin Philharmonic playing Symphony 40 for example - and Wim playing this (and the other Mozart & Haydn sonatas we have heard and are hopefully yet to hear) is easily in this league. It sounds so effortless and beautiful and natural that one could think Mozart had written it for Wim and the clavichord. Well done and thank you, thank you, thank you.
Thank you, Bach-ing mad , that's way too much honour for me... !
Absolutely not! I firmly believe every word I have written and I am sure I am not the only person to hold these views. You are an excellent musician and appear to have a natural flair for this music. You play with a wonderful freshness and vibrancy as I have stated elsewhere. Don't let modesty hold you back, you have the potential to be as well known as any famous musician if you want to. If you believe in yourself you can do it.
This sonata, better known as the "sonate facile", a title given in a publication of 1805, is one of the later sonatas Mozart wrote. I give you first the index:
0:09 Allegro
4:36 Andante
9:29 Rondo Allegretto
In his own index, Mozarts titles this work as "Eine kleine Klavier-Sonate für anfänger", or, "A little keyboard sonata for beginners", dated 26 June 1788.
The translation is not without problems, and definitely the translation of the NMA as 'piano-sonata', is without any historical reference, which is so surprising for this otherwise so easy to recommend institute of knowledge, accuracy and carefulness.
Anyway, we talked about this before, and we will again, what the definition of the German term Clavier is, and in which area it had which meaning. I am not an academic, so I do not have an overview of all publication on this interesting topic. I would love to read more on this, especially in the Viennese period, since the situation of the Bach tradition is rather clear (Clavier = clavichord), so don't hesitate to let me know what sources you have.
So, Mozart wrote this sonata for real beginners.
Did he have a clue what a beginner was? Or, what one could expect from a normal gifted human being starting with his/her musical education? Or do we misinterpret the term "Anfänger" (beginners). I don't want to state here that this sonata is a really difficult one to play, no, but in general, if I recollect my five years or so in the basic music education as a piano/organ teacher, I could think of only one little boy that would have been able to play this sonata more or less after two or three years of study. Then, I suppose, one is still a "beginner", but in the case of this boy, he was extremely gifted, played some Bach in his first year in a way, well, so well articulated, phrased, metrically accentuated, ... all by himself. He was constantly moving on his bench, sometimes even trying to sit upside down, and his mother, almost depressed about so much activity and cleverness, entrusted me stunning details, under which that he was able to read the newspaper titles at the age of four, even without helping him much to learn the letters or their meaning. I had only the chance to touch this boy's talent, and when I quit my teaching job one day, the mother refused to come with his child to the new class, and I lost definitive track when she refused my offer to teach him in private for free, the rest of his adolescence.
All to say that this sonata is not for the average, even not the very good beginners. But for whatever beginner Mozart had in mind, he did a very clever job. First by writing a so simple but stunningly beautiful piece of music. But also in combining different techniques "in small". Scales, right hand, left hand, alberti basses, broken chords, trills, independence of both hands (e.g. bar 18 etc), modulations, ...
But the endings of part 1 and 3 are particularly difficult. It might be my problem, but I find the closing of the first movement hard to play. The right hand has to jump two octaves, the left hand not even one full octave. And the last unison note is again divided between both hands, differently than one feels to be natural. Mozart did this on purpose, that's so easy to feel, as in the closing of the last movement, less obviously than in the first one, but for sure a passage that must be looked at carefully.
The expression of the first part is to me of a childlike happiness, innocent, spring, blue sky, butterflies flying everywhere in a meadow with fresh spring flowers in all colours. Details, careful accentuation and articulation, choice of movement in line with this feeling is essential to me for this first part.
The second part is the "telling-the-story"-movement. The tempo ensured by the left hand, ever ongoing, and the right hand, constantly telling, telling, telling. I might have chosen a somewhat fast tempo according to Mozart's choice for "andante", leaning perhaps more to allegretto, but that is not as simple as it looks. Notation and tempo choice are connected, the tempo word is influencing this connection, not changing it in essence. Not easy to explain in two words. Something I would like to elaborate more. Sometime... The third part a playing of children, jumping and imitating, full of joy, and childlike feelings, always big and absolute, like the wonderful modulation to A minor. It should not be played too fast to my feeling, giving room to all elements to give their place they deserve and to the audience the time to capture it in real-time!
Thanks for watching (and subscribing!)
Wim
www.authenticsound.be
AuthenticSound
Hi,at the first time it was tuned at 432 or 430hz?
AuthenticSound. I believe that the term Klavier in German is a general term for keyboard instrument. In today's language it generally refers to a piano, but it has also been used for other keyboard instruments. So for example JS Bach's 'Well Tempered Clavier' was written when the standard clavier was a harpsichord or clavichord. I believe that an organ can also be considered a Clavier.
The sonata is not "facile" when played at the usual modern tempo. I have been trying very hard (for years) to master it in such a speed and just cannot. There are so many awkward sections in it, especially the first movement. However, at this speed, I believe I have a chance at getting it.
Clavier=Clavichord in the time of C P E Bach's tradition possibly, even then with only a few pieces with bebung indications in among his works. In the J S Bach's tradition, clavier=generic for keyboard instrument definitely. J S Bach's Clavieruebung printed publications list Part 1 (no specific instrument), Part II Harpsichord with 2 manuals, Part III Organ mit pedal. The unrelated ClavierUebung known now by the nickname, "Goldberg Variations" likewise, Harpsichord with 2 manuals. Outside of these references of Part II and the Goldbergs, the G minor Toccata has in the manuscript Forte and Piano. (This has lead some to believe it's an organ work for manuals, but J S Bach in organ works generally reference manuals by name, or stops infrequently. I would almost accept the argument that the Partitas were intended for the clavichord (The Trinity of Keyboard put forth), except that the "French Suites" and the "English Suites" all in their manuscript titles and in the student copies use German, French, and in one instance Italian names for the Harpsichord which likewise had contemporary usage by other individuals in J S Bach's sphere.
In 1745 an inventory of Zacharias Hildebrandt and his workers/apprentices of the workshop built in their spare time (not when building organs) uses the term for Clavir for inexpensive instruments 10-15 Reichthaler (6 each, assumed to be clavichords) in contradistinction to spinets 24 Reichthaler (5 each) and harpsichords from 100-185 Reichthaler (5 each). One can logically conclude that the clavichords had a range of either C-c''' or C-e''' for the 14-15 Reichthaler, C/E-c''' short octave bass instruments for the price 10 RT and not one into the price range of an FF=f''' or elaborately decorated instrument. That the short octave bass was still likely common enough as C P E makes reference in his essay as to a good clavichord extending from the very least from the great C upwards to the three line e (to play other instruments parts). That's not to say that low FF instruments didn't exists (to the contrary), but "great C upwards" infers that the short octave bass instruments were still common enough. Also in terms of production, the spinet harpsichord and the grand form of the instrument, although slightly and excessively more costly, were no less common numerically.
Great Job! I heard this sonata like more than 1000 times and played it too. The best version I ever heard is Alexei Lubimov´s version in fortepiano. The andante in Lubimov's version is so touching I wanna cry. th-cam.com/video/02Q6T_AG8u4/w-d-xo.html
Once again you have demonstrated a lightness and clarity of articulation seldom heard by performers on any keyboard instrument. Your ornamentation and vitality give a very youthful performance. Maybe this is what was intimated in the 1805 title? Who knows, but you do give it a feeling of impish joy. Never stop! I look forward to all your performances.
Rollinglenn Thank you very much for this reaction, I'm really glad to read that you enjoyed this recording. It are reactions like yours that keep me going!
Hi, quick question if I could use some of the nice quotes you are so kind to have left on my channel, to be featured in a book that will accompany 3cd's to celebrate music prod n°100of this channel? Would be awesome...thanks in advance!
Wim
Of course you may!
By the way, one of my projects has been reviewed recently. I contributed piano accompaniments, translations, and vocal coaching. I have sent it in a message to you.See what you think of it.
One last thing; if I was not recuperating at home from a bone infection, I would have loved to be involved in your CD project. Maybe on your 200th production CD? I should be ready to apply to assist you by then.
My best wishes for you and your family as well all of your musical endeavours.
Glenn
Love music from period instruments; they give a wider scope of imagine.
I love everything about this, especially the way you articulate all the notes.
Woah. The way you interpreted this sonata was the best I’ve heard.. it’s truly sublime.
Amazing! Probably the best version I ever heard.
I agree this sonata is not as facile as it seems. While I believe the first and second movements, to be two of the greatest pieces of musical history, regardless of technical references. Particularly for me the Andante possess such dept that you couldn’t imagine in such a simple tune, let’s say. Quoting Einstein “Whenever the answer is simple, God is answering” I believe this Andante is just that. As final remark after playing this piece several times in a weekend, somehow I released an old hatred , and turn it not as mush as love, but a longing, ready to be handled and overcomed. This music is powerful indeed, it saved me months of the therapy. Thanks Winters, the speed sounds just right!
omg i love everything about this interpretation! The choice of instrument and the tempo! It is just spot-on for me!!!!! Cannot listen to this piece without this interpretation in mind
Beautiful as always! This piece is real, living full of music. Players who play ot much faster miss the musicality!
Classical sounds the best on the harpsidchord type piano. Love the mood lighting of the candles like it wouldve been in the late 1700s
your ornamentation and articulation are beyond belief
you are a gift to our generation
interpreting in your unique way bach to bethoven
everything is just exquisite!
and your joris potvlieghe clavichord is extraordinary.
This...is a nice compliment to read on a Monday morning! Thank you so much Charles, I'm really glad that I could deliver a little bit of beauty!
best wishes,
Wim
Amazing! I love the sound this clavichord has, great bass!
Thanks for listening
I know right! It sounds so cool!
The original instruments were the way they composed the music 🎵👏👏👏👏
At this tempo this musical piece makes its way directly into the middle of my brain, wonderful!
Wonderful! It's great to hear different interpretations of this piece. Thank you for that!
You're welcome, and thank you for listening and letting me know your feedback!
Bellisimo. I love that sonata totally. thank you!
Nice to hear it played in the original setting.
That first movement is such a gem itself and this is the greatest playing of it ever. No words could ever describe how immaculately exquisite and beautifully you play this. Instead, I'm at a loss for words because Im taken over with joyous serenity..
Please never take this off your channel. Thank you!!
👍
Much more childlike and alive on clavichord than piano.
Must feel so beautiful
Anyone else just play their piano in the dark?
Nice ambient feel you got there dude
And is it just me or does this sound like something other than C major?
Mr. Winters uses a tuning system of A=404 Hz, so it sounds as if it is in B major.
@@BaroqueBach.Right, things I didnt know at the time, +1
🔴 THANK YOU FOR THIS VIDEO...!!👍👍👏👏👏👏👏👏👏🙂
Excellent pacing, ornamentation and recording. This is authentic Mozart for those who are tired of the Michael Bay-esque "Period" style that emphasizes intensely choreographed speed and action instead of soulful lyricism and musicality that only emerges when the performer has freedom to extemporize with ornamentation and even improvisation as was the norm in Mozart's day. Thank you!
Thank you so much, Nash, for the kind words, really glad you liked this!
Wim , deze muziek is Mozart waardig .Het brengt me in en buiten de tijd . Pol F Ambassadeur voor deze muziek
Dank je, Leopold Fransen !
Lovely Trills!!
:-)
One of his best sonatas, he had ever written.
@@georgefredrichandel3539 Don't fret, your 'Messiah' Alleluia knocked it out of the park!
Amazing performance, Grigory Gruzman is one of the few players on fortepiano who adds nice ornaments like you do, a very common practice in Baroque and Classical music era. Especially when it's about repetitions! Very well played. The speed for 2nd movement is perfect cause Andante is not necessarily a mean for "slow", the first movement was very interesting indeed! A different and an authentic performance, like the name of your channel, an authentic sound. Should be nice if you would play some of my piano pieces some day.
Bellos arreglos que pusiste, muy bueno!
thanks Sebastian
Incredible... it's one of my most favorite sonatas...
PS, the first theme has been used in Windows Mobile 6 as a standard MIDI ringtone.
Mozart would be a rich man when he had lived today...but in fact he was quite making some money in his time too :-)
I love your interpretation. Fantastic ornamentation. I am learning this piece now and I like to use the harpsichord, organ, and 'guitar' sounds on my Yamaha Clavinova to approximate playing a period instrument. I would love to someday own the real thing. Until then I can live vicariously through your videos.
great, go for it !
great teacher, only the glass of wine was missing haha
Man, this is pure gold! Perfect!
Thanks Marian !!
it sounds amazing
Sounds magical
Wonderful !! Love it !! 🎵👍
This is not Mozart, this is a boulder!
Beautiful and inspiring version, Wim! Thanks for it.
thanks, Jan, and good luck with your version!
Your ornamentation is superb!
nicksum29 Thank you very much!Wim
AuthenticSound No, thank YOU - can't remember when last I enjoyed an original instrument recording so much!
I'm studying exactly the first moviment of this sonata.
Your channel is fantastic and I loved your interpretations of Bach.
This execution, in particular, is magnific, and I really believe that this is the more faithful (or don't would be called "Facile").
However, I still prefer a bit more fast.
Edit: I listened after any months, and, today, I prefer this version. How it's possible? 😂
Actually sounds like an easy sonata, as Mozart intended. :)
I'll try out as well on Clavinet! ( electric clavichord, Stevie Wonder's favourite instrument...). I do not own a real Clavinet (yet), but a really nice sampled version in my digital piano. Similar tone, but you can adjust the pickup settings, add little bit tube everdrive for the preamp. I did it already with Mozart Fantasy in D minor.
I like the way you slowed the first Allegro down, the way you ornamented the ritornellos (Was it a rule even in Classical period? I know it was a rule in Baroque one) and the way how you played the apoggiaturas longer than the usual. What's the tuning your clavichord is settled, please? Thanks for sharing this great performance.
Bravissimo! And also the choice of the tempo in the first part of the sonata is correct. The pianists must to understand that a tempo very fast it is not correct for this sonata.
Unglaubich! Incredibile! Increible! il tempo giusto, Bravo.
Hi Luis, of course, all tempo giusto...thank you so much for your reaction, it made me smile !
You're like Mr. Arrau! :D You played the sonata not that fast/slow. Just in enough tempo! Now I understand that, it's not necessary to follow 120 bpm on the metronome. To be honest, every time I play pieces and I play them fast, I hate it!
thanks, on honour to be compared to Arrau!
This is great! Very nice visual too. Next, you should record wearing period costumes! : )
+Protos Telos Thanks for letting me know! I will, when I hit the 10.000 subs ;-)
@@AuthenticSound did this happen Mr Winters?
this is my favourite sonata!
Jozef Sklenčár That's nice to hear! And hopefully performed in a 'favourite' way :-).Wim
Jozef Sklenčár And thank you very much for your subscription!
Brutal, awesome, thank you
Truly a most amazing instrument! I wonder, perhaps, if you would be able to Mozart's Sonata in a minor K. 310? Great job with the touch and ornamentation!
He has 2 interpretations in the channel already of that sonata.
PERFECT !!!
Thanks !!
Beautiful video. Great playing, great instrument. Thank you for this. Subbed
Thanks! Welcome here!
I would absolutely love to hear KV 19d, likely by Maria Anna and not Wolfgang, interpreted by you and a partner, or even recorded over yourself. No doubt it would sound magical!
YESS! I FOUND a sound-like a harpsichord of this sonata! :D. Btw, what version do you use?
Urtext
So that's why there are a lot of trills?
Beautiful!
super! vždy si to púšťam do okola!! :D
Jozef Sklenčár Thank you, even if I'm not sure what exactly you wrote in Tjechish (I guess) :-)
It's the Slovak language, my friend. Very similar to Czech, though.
Beautiful! :D
I would really like if you would consider playing KV 330 on the clavichord.
I will do that sonata, promise
@@AuthenticSound. Thank you.
That would be awesome
What made you pick that tempo for the opening Allegro? I think it works well, but I could see many performers objecting to taking it that slow
Is it just me, or does he look a lot like Rick Steves?
You should play the c minor fantasy and sonata when you get your fortepiano.
Of course! I'll add it to the list.
@1:20 that was really funny
I heard a piece once, the first 2 bars were Mozart's song,
Then the rest was entirely something else
I'm sure it came before Mozart's piece but
Just got me thinking
I find it a fantastic execution. Why don' t play it on Erard ?
Thank you! The Erard is a really different world!
You play here Allegro at about quarter-note 160 double-beat and Andante at about quarter-note 102 double-beat. Isn't it a bit fast? Or maybe it's indicated in the scores?
It's from my 'pre-lorenz' time...!
Sigh...so very good, sooo very good.
thank you
Why Mvt.2(Andante) is faster than Mvt.1(Allegro)??
But your sound is very nice :)
I love it
And in my opinion, Your Mvt.3(Rondo Allegretto) is too slow...T^T
김선경 the italian tempowords never stand alone, they are connected with notation and bar structure. We talk a lot about that here on the channel!
that is not true at all!
Rond minuut 2:25-2:26 meen ik een triller waar te nemen die op de hoofdnoot begint, is dat een bewuste keuze? Alvast bedankt en complimenten voor de vele mooie opnames.
Dag Martin, bedankt voor je feedback ! In dit geval wel, lange trillers vind ik rustiger beginnend met de hoofdnoot (je leest daar ook wel iets over, maar uit mijn hoofd weet ik nu niet waar, alleszins niet bij Leopold Mozart...). Moet ook zeggen: ben nu intenser bezig met de versieringen dan toen (en het wordt er daardoor alleen maar complexer, lees: boeiender door) !
What if the sonata is all about Mozart's childhood? :O
redboombuzz Yeah, what if? It wouldn't change a thing.
Interpretation?
And do you have any points to support your assumptions?
No. Wait lemme rephrase it.
Very hard for music to be 'about' something. What does that mean?
Everyone who plays k545 ad libs a bit of personal interpretation to it.
Better on 1.25x 🤭
Beethoven’s sonatas faciles are easier than this... *BEETHOVEN’S!!!!*
Let's be sincere, it was not a good idea...
Beautiful!
Thank you!