Fantastic music (isn't all Mozart?), fantastic instrument and perfect timing. You have added an extra dimension to this piece that has probably been missing since the departure of W.A.M. So refreshingly different from the usual hurried recordings one usually hears. Well done to all who worked so hard to make this happen.
I'm going back through some of your recordings that _EVERYONE_ loved, and you _STILL_ play everything at exactly the same tempi. This one is at about 18 MPM and that's about 5 nps for an Allo. Suddenly everyone wants 12 nps? Crazy! These pieces were all in the same time frame (1774 - 1822) through Beethoven. That's 50 years, and them tempi doubled and or more in that time? Especially when Crotch in 1812 was still giving Allos the range of 4 - 7 nps ... not likely. And _THAT'S_ what wins the WBMP in my book. The absolute numbers that verify the tempi. You rock on, Wim. This "new" "old" idea will return because now _EVERYONE_ can play this gorgeous music! You have indeed "unchained" all of us!
I'm writing a novel about Mozart and his family, and whenever I need to imagine any musical sequences I listen only to your renditions. Thank you very much for reviving his music in such a sublime, delicious manner! Bless you!
I think that on the piano it would sound nice. I've played it, but with the clavichord everything is just so clear and simpler. Really sounds beautiful.
These Mozart sonatas come to wonderful life on the clavichord with your playing. Absolutely beautiful. You should definitely make recordings of these available for sale.
Thank you so much Adil ! Yes, later this year, I'll be rerecording them on Tape for release on vinyl/CD, a smaller project like the Bach partitas release as we are doing now.
The recapitulation in the first movement actually feels real at this tempo. In single beat, I always think, “already? That was quick.” But here, oh, it comes just in time. How refreshing
thank you. yes we lost for sure the 'adagio' and 'andante' feeling, as Saint-Saens woudl say much later, end 19th century basically the early 19th century tempi were taken much quicker, adagio became andantes, andantes allegro's and so on
Thanks, I will play these more slowly now. Either very fast or quite slowly? What a mind Mozart had, is what I'm thinking when I'm practicing. But these thoughts make me speed up, become more intense and dramatic. Anyway, I'm just exploring and having fun.
I rather enjoyed this tempo. I felt like I was taken through a journey rather then experiencing just the virtuosity. Many do take it too fast which takes away from its emotional aspect. Thanks for this great interpretation.
Vielen Dank Wim! Ich erinnere mich an Gespräche mit dem Komponisten Gerhard Lampersperg. Immer wieder sagte er sie alle spielten Mozart viel zu schnell!
I agree there is no young or mature Mozart. He threw out one clever masterpiece after another from the word "go" I find most pre k300 to be like magic thrown from some enigmatic place
You are right about the romantic expression in these Munich Sonatas. I hear passages that sound just like Beethoven. I also feel they are divinely inspired. Perhaps his own romantic struggles in his courtship are coming through? It is interesting that the pieces can be enjoyed at this comparatively slow tempo, while at the same time Glen Gould's version of the first movement of this piece also works beautifully, something I would not say about the break-neck pace of the third movement of this sonata. Funny, Gould thought these were among the best of Mozart's sonatas. I like especially the interesting ornaments that you are adding, Wim. This has inspired me to try my hand, although not very well, with this. Regarding tempo, I know that you are a believer in these much slower tempos, but I wonder if the best approach might be to say, "what seems best to me, the pefrormer or listener?" Referring to Gould again, he does this very slow performance of the theme of the A-major sonata. It is painful to listen to-- I want to tell him please play a bit faster with more expression. I have thought that there is a requirement for a certain tempo in order to be expressive. As a thought experiment, or do it yourself by just slowing down the speed (which is easy to do on TH-cam under settings), and see what it sounds like. What tempo allow you to enjoy it the most? I recall Scott Joplin always complained that "Ragtime should not be played too fast." And yet, the Maple Leaf Rag played quickly is very exciting and enjoyable. It also sounds nice as played by at a slower tempo by Joshua Rifkin. If you slow a piece down too much-- it just doesnt work; likewise if you speed up too much, as Gould is guilty of so often with Mozart (and Bach), it creates a frustration and tension that makes me want to shout "slow down!!!" Just my thoughts, but in conclusion i love Wim's playing and have developed an appreciation for this style and the sound of the clavichord. (It would be interesting to hear these pieces played much faster on the clavichord. Perhaps it would reveal that there are limitations for different intstruments. For example, a Steinway piano might allow a faster rendition to come of very nicely, whereas if played at same tempo on the clavichord would sound muddied and unpleasant. Thanks so much for all your good work, Wim!
Thanks Robert ! On Tuesday, Beethoven is coming (I mean, the recording...). Something strange happened: I heard my breathing way more than normally. And yet, the mic's are in exact the same position as with the partitas, never took them down even. The preamp was different though, someone accidentally touched the finetuning know (you know the +5 -5 db ).
Sounds like some touched the gain levels. Not an issue. Return to the prior position. I little higher level is ok but you will hear more of the room. :-) this recording sounds good.
Just briefly looked at another videos time that I've heard before, and it says about 14 min. This is 24 min. Much longer, but a lot easier to listen to and follow along with.
Just realized that the high notes on the clavichord sound like small mandoline :) ! Wonderful playing. To me the non baroque-informed parts of Mozart sound like grotesque, symmetrical, simplistic up-down singing warm up exercises (like pyramid shape, like military music lol it’s not Dario castello s sonata Seconda by any extend), but you play it so wonderfully with such a deep felt and fluid touch that it sounds pleasant!
These tempi have music too in them. Ive been playing them at the tempos ive heard them played on clavichord ut suits their sound. What authority suggests this. Thanks your videos are well made and wonderfully informative!
O yes, that would be no problem at all, but I sincerely believe this is the kind of 18c tempo feel people had back than. I've made (and will make) videos on tempo and notation, if you're interested in knowing a little bit more on the 'why's'
I love your improvisations, but my question is this allowable in these works, or should one strictly follow the written score, and can you take the same liberties say with Beethoven' sonatas?
Mozart most probably did not envision yet the 'finished' score. He very much lived by the idea as written by CPEBach, that one never should play a repeat exactly the same. Leopold stated that it would be best if people did stick to the score (thereby stating at the same time that that was not the practice), but clearly targeting bad taste. With Beethoven, you slowly move to the period of the untouchable score, as he, throughout his live, certainly would have wanted you to play as written. His earlier works are up to the same approach as earlier in the 18th c. though. You should try it, it is very refreshing.
Wow! Wim! The Romantic composers wrote in their own "variations" instead of letting the interpreter do it as in the earlier days - is my guess only - , and I do "add" things to Beethoven that he might have forgot, e.g., in the third sonata, in the dulce, I add a trill on the C natural in measure 54, and the same in the recap. It seems to be appropriate to the next set of trills that come up a measure or two later. Like you, I figured out that a lot of Mozart's Adagios, etc., could use an embellishment here and there. In closing, please allow me to thank you for your teaching that these masters don't need to be played FAST. The interpreters are not supposed to be doing it for their egos; they should be doing it to demonstrate the composer and to entertain the audience. My humble opinions all. Godspeed Wim!!!
@@anjaschouteden6749 You must be very talented as well! Thank you both. I have gained enormous understanding of Mozart from these videos, after being a devotee for my whole life. Thank you!
I have to say this is my favorite of the Munich sonatas. Something about the harmonies in the outer movements is different from the others. It feels more improvisatory. Which, I admit, bugs me because liking the first sonata of a set makes it seem like Mozart didn't improve as he wrote more sonatas. (he did with the later ones obviously).
That makes sense in a way that he (apart from the 6th) wrote them as a set. The middle section of the second though is really ahead of his time I believe. Looking forward reading your thoughts on this (release Tuesday)
![SAFEPLANET - ดาวเคราะห์ [ THE PLANET ]](http://i.ytimg.com/vi/4X1XL3I_k3c/mqdefault.jpg)
Fantastic music (isn't all Mozart?), fantastic instrument and perfect timing. You have added an extra dimension to this piece that has probably been missing since the departure of W.A.M. So refreshingly different from the usual hurried recordings one usually hears. Well done to all who worked so hard to make this happen.
Thank you so much, great that the 'message' comes through !
Do not worry, I was just playing to make the thumbnail picture.
It looks great!
(You should try to play some time) :D
I shouldn't sound great ! :-)
That was funny!
Caught the thumbnail on this ... it cracked me up! Who says musicians don't have a sense of humor?!
I'm going back through some of your recordings that _EVERYONE_ loved, and you _STILL_ play everything at exactly the same tempi. This one is at about 18 MPM and that's about 5 nps for an Allo. Suddenly everyone wants 12 nps? Crazy! These pieces were all in the same time frame (1774 - 1822) through Beethoven. That's 50 years, and them tempi doubled and or more in that time? Especially when Crotch in 1812 was still giving Allos the range of 4 - 7 nps ... not likely. And _THAT'S_ what wins the WBMP in my book. The absolute numbers that verify the tempi. You rock on, Wim. This "new" "old" idea will return because now _EVERYONE_ can play this gorgeous music! You have indeed "unchained" all of us!
The rich tradition of lute music (and sound!) also comes through.
This is the perfect tempo - one can hear much more (and enjoy it for longer) when there is no rush to finish the piece as soon as possible.
Great to read from you, Kresimir !
Would rather listen to this than any pop song, any day!!! Not enough appreciation for this music nowadays. Thank you for what you do!!!!
Thank you so much for the kind words, it really energizes me to continue !
It truly instills in one a sense of the divine.
I'm writing a novel about Mozart and his family, and whenever I need to imagine any musical sequences I listen only to your renditions. Thank you very much for reviving his music in such a sublime, delicious manner! Bless you!
In my opinion, this is simply the best interpretation of Mozart's KV 279 I've seen so far.
thank you so much
Tempo utterly changes the perceptible Affekt of music. What you are doing here is profound, so thank you.
Thanks John!
Wonderful performance. KV 279 truly comes alive on the clavichord!
Thank you so much, Robin
I think that on the piano it would sound nice. I've played it, but with the clavichord everything is just so clear and simpler. Really sounds beautiful.
Very convincing use of clavichord and excellent variation in reprise. Thank you for posting.
Thank you so much for listening and for the nice comment, David, glad you liked this !
thanks to Wim, I purchased a clavichord this week
That's great to read Gregory, I'm sure you two'll have a great time together!
Where can I buy one???
These Mozart sonatas come to wonderful life on the clavichord with your playing. Absolutely beautiful. You should definitely make recordings of these available for sale.
Thank you so much Adil ! Yes, later this year, I'll be rerecording them on Tape for release on vinyl/CD, a smaller project like the Bach partitas release as we are doing now.
The recapitulation in the first movement actually feels real at this tempo. In single beat, I always think, “already? That was quick.” But here, oh, it comes just in time. How refreshing
Che meraviglia Mozart,risalta tutta l’agogica esecuzione piena di sentimento complimenti.
Andante, cantabile just beautiful! None of the piano recordings play this! Also much better sounding than piano. Really love it!
thank you. yes we lost for sure the 'adagio' and 'andante' feeling, as Saint-Saens woudl say much later, end 19th century basically the early 19th century tempi were taken much quicker, adagio became andantes, andantes allegro's and so on
🙏 Do you recordings we could purchase? I would like any and everything you have done on Mozart.
Thanks, I will play these more slowly now.
Either very fast or quite slowly? What a mind Mozart had, is what I'm thinking when I'm practicing. But these thoughts make me speed up, become more intense and dramatic. Anyway, I'm just exploring and having fun.
Brilliant!
Thanks Matthew !
Very inspiring playing! Fantastic!
I rather enjoyed this tempo. I felt like I was taken through a journey rather then experiencing just the virtuosity. Many do take it too fast which takes away from its emotional aspect. Thanks for this great interpretation.
Very well played and lovely sonata!
thanks !
Its a very nice change from the Robert Levin version I've heard on the Viennese Fortepiano. and far slower and meditative. I like it a lot.
Thanks !
Vielen Dank Wim! Ich erinnere mich an Gespräche mit dem Komponisten Gerhard Lampersperg. Immer wieder sagte er sie alle spielten Mozart viel zu schnell!
Danke Johann
Incredible performance. Great audio quality.
leuke video mama en papa! 😉
Dank je wel, Sofie
xxx
Charming ,, a time warp recording ! ,,
I agree there is no young or mature Mozart. He threw out one clever masterpiece after another from the word "go"
I find most pre k300 to be like magic thrown from some enigmatic place
yes !
You are right about the romantic expression in these Munich Sonatas. I hear passages that sound just like Beethoven. I also feel they are divinely inspired. Perhaps his own romantic struggles in his courtship are coming through? It is interesting that the pieces can be enjoyed at this comparatively slow tempo, while at the same time Glen Gould's version of the first movement of this piece also works beautifully, something I would not say about the break-neck pace of the third movement of this sonata. Funny, Gould thought these were among the best of Mozart's sonatas.
I like especially the interesting ornaments that you are adding, Wim. This has inspired me to try my hand, although not very well, with this.
Regarding tempo, I know that you are a believer in these much slower tempos, but I wonder if the best approach might be to say, "what seems best to me, the pefrormer or listener?" Referring to Gould again, he does this very slow performance of the theme of the A-major sonata. It is painful to listen to-- I want to tell him please play a bit faster with more expression. I have thought that there is a requirement for a certain tempo in order to be expressive. As a thought experiment, or do it yourself by just slowing down the speed (which is easy to do on TH-cam under settings), and see what it sounds like. What tempo allow you to enjoy it the most?
I recall Scott Joplin always complained that "Ragtime should not be played too fast." And yet, the Maple Leaf Rag played quickly is very exciting and enjoyable. It also sounds nice as played by at a slower tempo by Joshua Rifkin.
If you slow a piece down too much-- it just doesnt work; likewise if you speed up too much, as Gould is guilty of so often with Mozart (and Bach), it creates a frustration and tension that makes me want to shout "slow down!!!"
Just my thoughts, but in conclusion i love Wim's playing and have developed an appreciation for this style and the sound of the clavichord. (It would be interesting to hear these pieces played much faster on the clavichord. Perhaps it would reveal that there are limitations for different intstruments. For example, a Steinway piano might allow a faster rendition to come of very nicely, whereas if played at same tempo on the clavichord would sound muddied and unpleasant.
Thanks so much for all your good work, Wim!
Beautiful! I am also beginning to hear what is so special about the clavichord. And your wonderful tempi . . . Thank you so much for your work.
Thanks for the nice words, Larry!!
Beautiful@ 3am!
Thank you !
Sounds Perfect.
Thanks Robert ! On Tuesday, Beethoven is coming (I mean, the recording...). Something strange happened: I heard my breathing way more than normally. And yet, the mic's are in exact the same position as with the partitas, never took them down even. The preamp was different though, someone accidentally touched the finetuning know (you know the +5 -5 db ).
Sounds like some touched the gain levels. Not an issue. Return to the prior position. I little higher level is ok but you will hear more of the room. :-) this recording sounds good.
Good sounding recording.
thanks !
Ah... it makes sense now
Great !
Just briefly looked at another videos time that I've heard before, and it says about 14 min. This is 24 min. Much longer, but a lot easier to listen to and follow along with.
Thanks for sharing your impressions Nathan!
working on this piece the other sonatas of mozart and his fantasies for piano.
Wim takes all the repeats, which I think some performers omit. But he is definitely about 30% slower than the average performance these days.
Just realized that the high notes on the clavichord sound like small mandoline :) ! Wonderful playing. To me the non baroque-informed parts of Mozart sound like grotesque, symmetrical, simplistic up-down singing warm up exercises (like pyramid shape, like military music lol it’s not Dario castello s sonata Seconda by any extend), but you play it so wonderfully with such a deep felt and fluid touch that it sounds pleasant!
Allegro - 0:00
Andante - 8:44
Allegro - 17:15
These tempi have music too in them. Ive been playing them at the tempos ive heard them played on clavichord ut suits their sound. What authority suggests this. Thanks your videos are well made and wonderfully informative!
Humans breathe all te time. I don't mind some on the authentic recording:-) I wonder what Mozart would think about hearing his breathing lol :-)
I really like this work.
Can you play it faster?
O yes, that would be no problem at all, but I sincerely believe this is the kind of 18c tempo feel people had back than. I've made (and will make) videos on tempo and notation, if you're interested in knowing a little bit more on the 'why's'
Anyway it is a pleasure to listen this work done on the clavichord. This gains on lightness!
I love your improvisations, but my question is this allowable in these works, or should one strictly follow the written score, and can you take the same liberties say with Beethoven' sonatas?
Mozart most probably did not envision yet the 'finished' score. He very much lived by the idea as written by CPEBach, that one never should play a repeat exactly the same. Leopold stated that it would be best if people did stick to the score (thereby stating at the same time that that was not the practice), but clearly targeting bad taste. With Beethoven, you slowly move to the period of the untouchable score, as he, throughout his live, certainly would have wanted you to play as written. His earlier works are up to the same approach as earlier in the 18th c. though. You should try it, it is very refreshing.
Thanks!
Wow! Wim! The Romantic composers wrote in their own "variations" instead of letting the interpreter do it as in the earlier days - is my guess only - , and I do "add" things to Beethoven that he might have forgot, e.g., in the third sonata, in the dulce, I add a trill on the C natural in measure 54, and the same in the recap. It seems to be appropriate to the next set of trills that come up a measure or two later. Like you, I figured out that a lot of Mozart's Adagios, etc., could use an embellishment here and there. In closing, please allow me to thank you for your teaching that these masters don't need to be played FAST. The interpreters are not supposed to be doing it for their egos; they should be doing it to demonstrate the composer and to entertain the audience. My humble opinions all. Godspeed Wim!!!
note to self. Andante 8:44
Is she your wife, Wim?
Hi, JCMH SOlutions, yes she is, and also the "strong woman behind the man" :-).
Good. What a beautiful family!
Thank you !
@@anjaschouteden6749 You must be very talented as well! Thank you both. I have gained enormous understanding of Mozart from these videos, after being a devotee for my whole life. Thank you!
I have to say this is my favorite of the Munich sonatas. Something about the harmonies in the outer movements is different from the others. It feels more improvisatory. Which, I admit, bugs me because liking the first sonata of a set makes it seem like Mozart didn't improve as he wrote more sonatas. (he did with the later ones obviously).
That makes sense in a way that he (apart from the 6th) wrote them as a set. The middle section of the second though is really ahead of his time I believe. Looking forward reading your thoughts on this (release Tuesday)
I find it kind of odd how slow it is played
It needs time to get used to new tempi, these are based on the MM left by Moscheles (you'll find lots of videos on tempo research here)
This stopping and going is thoroughly foreign to a normative Mozartian style.
that 'normative Mozartian style' is not 'Mozartian' at all...it's exactly the problem
I dont belive its Mozart playing, its without esprit, humor, like a schoolgirl performance.
haha, yes.