[On K. 533] Mozart shows how challenging he can be, as he brings together counterpoint and operatic elements, learnedness and wit, new and old. The goal of being ‘neither too easy nor too difficult’, as Mozart once put it to his father - that balance of ‘making effects’ while also writing for the initiated - does not adequately describe this work. To this day the Sonata has remained a piece for the initiated. The contrapuntal development of its Andante collapses into a dissonant inner turbulence, very nearly dislocating the formal equilibrium. In this movement, communicative utterance is virtually stifled. Whoever is irritated by Mozart’s serene loveliness - as evidently was Busoni - should realise from this Andante, from the beginning of the ‘Dissonance’ Quartet, the trio of the B major Quartet K. 589 or the F minor works for mechanical organ K. 594 and 616, how boldly Mozart could darken beauty. The two movements of K. 533 display a musician who shows not only what he can do, but what he dares to do. Regret has been expressed over Mozart’s use of the Rondo, K. 494, composed one and a half years earlier, as the third movement of the sonata. True, the vigorous inserted cadenza-like passage of twenty-seven measures, which relates structurally to the other movements, does not attempt to put into question the basically graceful character of the whole. Yet nothing could resolve the preceding tensions more thoroughly than the lightness which remains gently suspended even in the subterranean bass register of the closing measures. Mozart bids us farewell with a delicately ironic antithesis to those disturbing pages in D minor and G minor, in which the Andante had so nearly met its destruction.-Alfred Brendel, Sense and Nonsense: Collected Essays and Lectures (Biteback Publishing, 2016).
Ricardo Mena I have just uploaded a guide to the psychology of K533, very much in line with Alfred’s own conception of the piece. In case of curiosity, do have a watch on my channel.
It is because of entries like this that I read the comments always hoping for some insight . I have a very old book of Essays of Brendel but don't remember him talking about Mozart . He talks about Busoni and Beethoven a lot and his teachers /forbearers Fischer and (Steurmann? not sure about Steurmann have to check). I need to get the collected Essays it will have things he's written since I bought that book in the 1970's really too young to digest much of it but I remember this was the first time I heard talk about the Schubert sonatas ! again , Thanks !
Fine articulation and textures clear and telling with Musical & sensible Mozartean phrasing . Spiritually alert in the slow movement . Rondo is almost DonGiovanni like in its characterizations . Enjoyed this . Would like to see rest of recital 's repertoire.
She's like nearly every other Asian player I've ever seen. Quite boring and hunched like that over the piano, not much chacter or wit, mechanical. Zzzzzz
Better than so many European pianists who never made it to the stage. You need to listen with your eyes closed else your ignorance and bias will continue to ooze out of your brain through your fingers. Quoting (Non-Asian) Twain feels apt to the situation: “It's better to keep your mouth shut and appear stupid than open it and remove all doubt”
@@kevinmaestroful She might as well have been. Your comment would've deserved more merit if you curbed your stereotyping, and if your critique centered on, say, tone, technique, etc. (may be you do have, and I always love a recommendation.) I have so many Asian friends who come in all shades, literally, in character and predisposition. We never hear "She's like nearly every other Polish player I've ever seen. Quite sappy and full of histrionics." Anyway I said more than I wanted. Good Day. Adieu
@@conscious_corpuscle_conglo2915 my comment was based primarily on technique, being hunched over and playing mechanically refers to technique and as for tone etc well I said there wasn't much character or wit... Like "nearly" every other asian player I've seen, that's not obviously to say ALL of them play like that.. But there is a definite trend towards lang lang like mechanical and showy playing.. Which is boring
[On K. 533] Mozart shows how challenging he can be, as he brings together counterpoint and operatic elements, learnedness and wit, new and old. The goal of being ‘neither too easy nor too difficult’, as Mozart once put it to his father - that balance of ‘making effects’ while also writing for the initiated - does not adequately describe this work. To this day the Sonata has remained a piece for the initiated. The contrapuntal development of its Andante collapses into a dissonant inner turbulence, very nearly dislocating the formal equilibrium. In this movement, communicative utterance is virtually stifled. Whoever is irritated by Mozart’s serene loveliness - as evidently was Busoni - should realise from this Andante, from the beginning of the ‘Dissonance’ Quartet, the trio of the B major Quartet K. 589 or the F minor works for mechanical organ K. 594 and 616, how boldly Mozart could darken beauty. The two movements of K. 533 display a musician who shows not only what he can do, but what he dares to do. Regret has been expressed over Mozart’s use of the Rondo, K. 494, composed one and a half years earlier, as the third movement of the sonata. True, the vigorous inserted cadenza-like passage of twenty-seven measures, which relates structurally to the other movements, does not attempt to put into question the basically graceful character of the whole. Yet nothing could resolve the preceding tensions more thoroughly than the lightness which remains gently suspended even in the subterranean bass register of the closing measures. Mozart bids us farewell with a delicately ironic antithesis to those disturbing pages in D minor and G minor, in which the Andante had so nearly met its destruction.-Alfred Brendel, Sense and Nonsense: Collected Essays and Lectures (Biteback Publishing, 2016).
Ricardo Mena 뭔 말인지는 모르겠지만 길다ㄷㄷ
Ricardo Mena I have just uploaded a guide to the psychology of K533, very much in line with Alfred’s own conception of the piece. In case of curiosity, do have a watch on my channel.
It is because of entries like this that I read the comments always hoping for some insight . I have a very old book of Essays of Brendel but don't remember him talking about Mozart . He talks about Busoni and Beethoven a lot and his teachers /forbearers Fischer and (Steurmann? not sure about Steurmann have to check). I need to get the collected Essays it will have things he's written since I bought that book in the 1970's really too young to digest much of it but I remember this was the first time I heard talk about the Schubert sonatas ! again , Thanks !
I just read that in the book which is why I decided to take a listen :)
For me it's the best rendition of this sonata. And she is the most beautiful pianist of the world.
Excellent, clear articulate playing.
Very beautiful performance.
Huijuan Pan!!!!!!....Mozart estaría feliz de escucharte!!!!!......sin dudas!!!!!...desde Buenos Aires, Argentina....
Very delicately observed, with great refinement.
Great performance with a unique finish.
Simply excellent.
Fine articulation and textures clear and telling with Musical & sensible Mozartean phrasing . Spiritually alert in the slow movement . Rondo is almost DonGiovanni like in its characterizations . Enjoyed this . Would like to see rest of recital 's repertoire.
wonderful! just the right amount of 'emotion' for mozart! thank you!
Very lovely!
You need only view one classical Mozart performance to understand Mozart. This one.
Outstanding
Thanks for sharing.
8:14 2st movement
In my opinion, in the first movement, the broken arpeggio figures should not be played with pedal, and should be played as staccato as possible.
Meticulous in every detail technically. For me, a little more emotion would have been appreciated. Still well worth viewing.
amazing interpretation and performance
why is it that most of the aziatic ones do understand mozart better than bach, chopin etc. .?
evert anders perhaps it is because bach is too stern and chopin is too sad?
00:12
08:14
14:05
Sound and video were out of synch for me... Anybody have the same problem?
Try and watch the video lower in quality it should work better.
예원입시때는 곡 끝까지 다 들어요?
요루링[아미] 아닐걸요 중간에 멈출거같은데
요루링[아미] 커튼 가려서 치나?
연주회하시남 당연히 제시부 전엘 끈겠죠? 발전부 끝까지 하구
@@핑핑이-r8p 저 콩쿨 할때는 발전부시작에서 끊었어요
繰り返しの後6:53
이번 예원 입시곡이댜
이용 망헸어요
전 계원가눈뒙 슈만 손작아서 슈베르트를;;
@@핑핑이-r8p 저도 계원가는데! 전 빠삐용 대신 즉흥곡 2번이랑 k.533해요!
She's like nearly every other Asian player I've ever seen. Quite boring and hunched like that over the piano, not much chacter or wit, mechanical. Zzzzzz
Better than so many European pianists who never made it to the stage. You need to listen with your eyes closed else your ignorance and bias will continue to ooze out of your brain through your fingers. Quoting (Non-Asian) Twain feels apt to the situation:
“It's better to keep your mouth shut and appear stupid than open it and remove all doubt”
@@conscious_corpuscle_conglo2915 I can actually listen and watch at the same time.. She sounds mechanical.. Zzz
@@kevinmaestroful She might as well have been. Your comment would've deserved more merit if you curbed your stereotyping, and if your critique centered on, say, tone, technique, etc. (may be you do have, and I always love a recommendation.) I have so many Asian friends who come in all shades, literally, in character and predisposition. We never hear "She's like nearly every other Polish player I've ever seen. Quite sappy and full of histrionics." Anyway I said more than I wanted. Good Day. Adieu
@@conscious_corpuscle_conglo2915 my comment was based primarily on technique, being hunched over and playing mechanically refers to technique and as for tone etc well I said there wasn't much character or wit... Like "nearly" every other asian player I've seen, that's not obviously to say ALL of them play like that.. But there is a definite trend towards lang lang like mechanical and showy playing.. Which is boring