"Mozart's last piano sonata. Baroque-like counterpoint reminiscent of Bach. It's a challenging piece. The main theme pops out in places where you'd expect a new melody. And when you think there's finally a new melody, it vanishes right away. He makes you wonder how he's going to end it, and then closes the piece with grace. That sense of balance. Mozart isn't someone who can be understood by way of reason." (Chiaki senpai)
Listening to the second movement brings me back the same feeling of hearing his 40th symphony when I was a kid. My mom received one of those Mozart cds that claimed to make your kid smarter and one of the them had the 40th. I spent so many nights alone with that music and Wolfgang. Hearing her interpretation of the second movement, so full of mystery, brings those same feelings back.
We are inundated with all kinds of supersonic Mozart but in my humble opinion Ms. Haebler is the greatest of them all. Her tone, overall sound, pacing and sublime playing is incomparable. There is little ego, but massive Mozart...I do believe that Alfred Brendel has concurred on her Mozart being incomparable as well. Some things are just not meant for mass consumption.
J'adore. Avant Haebler j'avais écouté la version Barenboim. C'est la nuit et le jour. Chez Haebler il y a des sentiments, une humanité. De l'expression. Avec Barenboim, j'ai l'impression d'entendre mon ordinateur. Un robot qui joue, pas un être humain.
@@therealrealludwigvanbeethoven how delightful of Mozart! Can he speak Russian though? Was he making ass jokes and simultaneously composing a canon while drunk with vodka?
So beautiful. I feel like some people don’t like the Classical Era as much as, say, the Romantic Era because it can be less outwardly emotional. I wrote a couple of pages for a class once relating the music of the Classical Era to Beowulf. We were having a discussion about Beowulf as a hero-a perfect hero, that is. No flaws. It makes sense why he is not so relatable, which makes a good story, but I made an argument that while we may not find his story most interesting at first, it is a great highlight of humanity; the perfect hero symbolizes our desires and what we strive to be. What could be more human than that?
Every era of music is the same expressive in terms of emotions because that's the essence of music. But the romantic era is closer to our 21.st century understanding of music than the classical or baroque era
Прекрасная музыка.! Гениальный Вольфган Амадей Моцарт! Как красиво и легко играет музыкант такое сложное произведение! Огромное спасибо за счастье Вас слушать!
Wunderschöne Interpretation dieser kompakten und fein komponierten Klaviersonate im lebhaften Tempo mit kalrem doch elegantem Anschlag und mit perfekt kontrollierter Dynamik. Der zweite Satz klingt besnders schön auch lieblich. Einfach wundervoll!
I like Ingrid Haebler's Mozart. No nonsense, but still full of life. Didn't know much about her, but a google search told me she is famous for her Mozart sonata recordings - I can understand why! Curious of the piano, sounds a little Bechstein-like. Fits very well. Thank you!
@@wingcap1448 Not technically in a waltz form and I don't think it would work, but is in 3/4 time -- personally i think it's way too slow to be a waltz -- perhaps more suited to dancing a minuet instead. :- ) Maybe we'll see it on some upcoming episode of Bridgerton haha
1. Allegro (Sonate) Exposition 0:07 - Groupe thématique 1 0:45 - Pont 1:05 - Groupe thématique 2 1:22 - Codetta (puis reprise à 1:30) Developpement 2:54 Reexposition 3:52 - Groupe thématique 1 4:25 - Le pont a disparu 4:25 - Groupe thématique 2 4:50 - Extension du G. t. 2 faisant office de coda 2. Adagio (Lied) 5:28 - Première partie 6:37 - Partie centrale 8:45 - Première partie 9:52 - Coda (partie centrale ecourtée et à la tonique) 3. Allegretto (Rondo sonate) Exposition 10:41 - Groupe thématique 1 11:16 - Pont 11:51 - Groupe thématique 2 12:03 - Codetta (aucune reprise) 12:12 - Groupe thématique 1 (12:36 - transition harmonique effectuée dans le G. t. 1) Developpement 12:55 Reexposition* 13:27 - Pont 14:02 - Groupe thématique 2 14:13 - Codetta 14:33 - Groupe thématique 1 14:54 - Coda *Le G. t. 1 n'a pas besoin d'être reexposé puisque c'est surtout lui qu'on a entendu pendant le développement.
But they just shouldnt be compared in that way, i just hate when people do that, it’s just- infeeeeerior lol. I MEAN ITS their SONATAS - thats not what u compare when speaking on Moz and Beet, at all.
Not at all, Beethoven is arguably the greatest optimist of all time. His music almost always ends in triumph, or die trying, whether in struggle or victory. He never wrote anything that truly ended in grief. Give his major works a listen from beginning to end rather than just one small snippet. It's much more relatable to the human experience but gives one the energy to tackle all the hardships in life and more importantly it's about hope. Mozart meanwhile is much more of an escapist, when he suffers he retreats to a childhood fantasy of perfect scenery, pretty flowers, princes and princesses. His music is therefore often 'perfect' in such an imperfect world. When Mozart writes grief in his music however brief, it's a religious almost spiritual type of grief that's embroiled in mystery and pure hopelessness. Not something you can walk away from without being impacted by a feeling of other worldliness.
@@segmentsAndCurves Mozart was no optimist, and it shows in his music, if you peel just beneath the surface, a very terrified and traumatized child, suffering the most insufferable, refusing to face the realities of a harsh world. Beethoven owned his suffering, fate and took it by the head and wrestled his difficulties to the ground with him. He never goes down without a fight and leaves one with moments of pure hope and triumph.
Quite fortuitous to find this TH-cam recording. So clean, and I do love Ingrid Haebler's interpretations and tone production. For the past month I have been looking all over for a clean digital recording of her playing the Chopin nocturnes. My LP is so scratchy anymore that I really wish I could listen to a cleaner version. Any ideas, other than going through the UK which insists that I have a UK address in order to purchase the digital download?
I cannot imagine this Sonata was ever described as easy. Maybe they meant not easy to play but easy on the ears and light-hearted or something like that.
He main theme of the last movement makes an appearance in the finale of Mozart’s 14th Concerto . Not sure if WAM was deliberately quoting the earlier work here or not. Maybe coincidence .
He always used melodies, fragments of works he was working on at at the same time, even older works he not consciously remembered as he mentioned once or twice in his letters. That part the movie Amadeus got right. In the Divertimenti for instance themes from the Violin Concertos appear but also in the Symphonies. I think that was common practice in those days, Beethoven did it, Haydn etc. etc.
Some oddities in form. In the first movement the recap isn't verbatim with the expo. M uses some development here. In the second movement there is a developmental section whose transition to the theme 1 is rather strange in terms of harmony. The third movement is a rondo but it has many aspects of Sonata form. In the first section there is a secondary theme exactly like the primary theme with a small difference.Also one of the episodes is a development.
On second look the third movement is actually in sonata form. Normally in the exposition we get theme group 1 and theme group 2 contrasting in dominant, a repeat of entire section followed by development and then the recap. Here we have exposition 1st time normal with TG 1 and TG2. And then a repeat. But the repeat has a development inserted between the two TG's. Then there is a recap which has TG 1only and a closing. It is sonata allegro form with some reorganization. Also Theme 2 is so similar to theme 1 we can say its monothematic.
In the second movement as I mentioned in the first comment, there is an abrupt change from f#m to dm. This is done by abruptly inserting an f natural in bass with a d in treble. dm then goes to AM ( minor iv to a I). Mozart could have easily gone from f#m to AM since they are relative. This is done in the interest of providing new color and making it less predictable.
Mozart had such an imagination because he remembered everything he ever heard. He didn't have to rework or go back to old notes. If he was writing in d minor, he would pull from his brain all the d minor works he heard. That was one of his main talents that separated him from Bach, Beethoven. It paid off. Multiple masterpieces in every genre of his time. We know Beethoven can't even say that and I question whether Bach could too.
@@therealrealludwigvanbeethoven lots of info on Beethoven about his endless notebooks and how much work he spent on certain pieces. Notes on your 9th symphony go back 20 years before his death. Not to mention, the main theme from the final movement of his 9th is a variation of mozarts theme k222 which not coincidently is also in d minor. Which part do you question, and I will do my best to answer?
@@beethovenlovedmozart The part you conveniently ignored, and which comprised the majority of your comment: that Mozart could remember "everything he ever heard," pulling from his brain every single work in d minor he had ever listened to.
@@therealrealludwigvanbeethoven there is plenty of evidence out there of it. Nobody documented much about it, but when you read the letters, stories, and study his music it's obvious to come to that conclusion. On the other side of it, there is nothing that suggests Beethoven had that ability as he pretty much wrote down every idea he ever had and always had it with him. I'll give you one such example on mozart. When he was in his young teens, he played in the orchestra of Michael Haydns requiem. I think he played a woodwind but not sure. He loved the requiem and only went to 2 performances. There is no record of him ever having the score of it yet , 16 years later when he wrote his last requiem he paid tribute to Haydn, and did many passages in which you think he was copying his requiem. It is my belief, that he knew he was going to die, and paid tribute to his friend Joseph Haydn by incorporating his brothers requiem because he remembered it. That's just one example. How else can a man write a masterpiece in 3 weeks time which he did several times? It's because every piece, experiment he did , stayed in his memory. He didn't have to go back to endless notes to write something. I've given you examples that most people don't know about. I won't even go to the documented church example where they wouldn't let him take a copy of music he had just heard, and a week later he wrote down note for note on paper. That's what separated him from most.
l have a badly damaged LH 4th finger and l'd like to learn the Adagio movement in order to return to playing the piano again. l wondered if anyone could advise me if this might be possible? Does anyone know what grade this would be performance wise? Many thanks 🫒
Mozart, le prince charmant des nuances équivoques (la joie, la tristesse)... et le démon sublime des métaphores enjouées... Tenez, là, par exemple : qui ne verrait un garnement courir après les fesses toutes roses d'une fille -- sinon ceux qui voient un jeunot rosir les joues rouges d'une fillette...
@@HowardTse Well, we could write it either way. Either 'Mozart was using 1% of his power' or 'Mozart used 1% of his power'. In the case of the former, we are speaking in the past tense, when he composed his last piano sonata.
@@bartjebartmans Apologize if I said something rude. I was thinking about how to play this piece most musically, and I think there are moments which can be treated in a better way. It might be because I have a different taste, so I wonder if you could explain to me how you feel the recording? The A staccato at mm. 2 weakens the upward motion and the forte mood(hunting call mood) of the opening. This diminishes the mood change at mm. 3 with the slurs. And the diminuendo at mm.6 weakens the sudden darker color of E minor, as well as the color shift at mm. 7, which I think is more surprising, melancholy and questioning, like a quiet response to the interjection of E minor arpeggio(mm.5). And this moves the piece back to A major so gently and gracefully. So this color shift is very dramatic and important. From my opinion, all these important details unite this part into flowing developing music. At mm. 9 is the return of the opening AM arpeggio. It is like a more vibrant and joyful reiteration of the opening mood. But the decrescendo at mm.11 reduces this mood a bit too soon so it loses the strength and development, which is crucial in connecting the two reiterations and let the music flow into the alberti bass part. Especially at mm.16. This is a surprising and important change in character. I think it deserves more emphasis. It is also again a change from E minor's darker color back to A major's warmth. This place elevates the piece so much!!! Like gentle sunlight making everything around me friendly and warm, which is something new and significant at this moment. And mm.24. It is after this repeated warm section that the music grows and moves forward into this jubilant descending line. It is leaking out from the music uncontrollably. From my taste, a sudden forte disconnects such flow. There is still a lot to talk about, but the place troubles me the most is at 3:29, where the music shifts to F# minor. This exact place, which has stayed in my memory for 10 years since I first played it, deserves more emphasize(this is also why it is marked p, and in some editions there is an mf before the F# minor section). It is the place where the music breaks the "polite, joyful" mask with an outburst of lament. How could one bear the grief and loneliness from this place? From my opinion, it is this exact place that made this sonata a great music. It adds so much depth into the music, although every detail inside this piece is worth analyzing. I am really a naive young music learner, and I am not thoroughly trained in a conservatory. So I would be really grateful if you could teach me how you understand this piece and the recording from a different meaningful perspective.
LOL found an article talking about similar things I noticed by gramophone on Ingrid Haebler and the "Mozart sound": It is light and pleasing to listen to but sometimes lacks the color and drama. I am glad that I had these discoveries on this recording, trusted my feelings, and put it into words. And I am glad that there are people who may share my feelings.
I hate this Mozart piece but was given this as homework once upon a time. Didn't finish it because we ended up focusing on a larger romantic piece with my teacher instead. I had to quick lessons for a few years and am planning on going back. Decided to learn this after all in case she wants me to learn it, obviously before resuming lessons. Also it's good practice to make my fingers quick and nimble again after all this time
Yes, I absolutely HATE this sonata too! I am so ashamed that I once believed Mozart to be a pretty good composer. Of course, this all ended the day I first listened to K576, and its malodorous cacophony of random pseudo-classical! percussion, which any child could produce in its sleep. In short, Mozart murdered this composition with its…too many notes!
Elegante, ma a me non piacciono i trilli a 4 note nel secondo e terzo movimeno, preferisco sostituirli a due note. Non mi piace il pianissimo della mano destra nel finale del terzo movimento.
What‘s up with this interpretation? It’s so lethargic.. Everything sounds soft, gentle, kind. No accents, no forte, no rough edges. It just doesn‘t seem to be saying anything to me.
It's scary how much control this requires.
"Mozart's last piano sonata. Baroque-like counterpoint reminiscent of Bach. It's a challenging piece. The main theme pops out in places where you'd expect a new melody. And when you think there's finally a new melody, it vanishes right away. He makes you wonder how he's going to end it, and then closes the piece with grace. That sense of balance. Mozart isn't someone who can be understood by way of reason." (Chiaki senpai)
Who?
@@Isegawa2001 mozart
Ooh made me wanna rewatch Nodame Cantabile!
Thanks for posting❤
Mozart’s music is perfect to listen to in the morning
Here are so many famous composers in this chat :-)
Yes. For example Khachaturian or Mozart..🙄 these guys come here very often which is nice from them..
The third movement of this sonata is awesome to listen to if you are walking along a beach - in the winter, when you are likely to be all alone!
At night its great tooooooo ❤❤❤❤
exactly. glad I'm not the only one who things that way.
Listening to the second movement brings me back the same feeling of hearing his 40th symphony when I was a kid. My mom received one of those Mozart cds that claimed to make your kid smarter and one of the them had the 40th. I spent so many nights alone with that music and Wolfgang. Hearing her interpretation of the second movement, so full of mystery, brings those same feelings back.
Quelle maitrise du son et du phrasé. Une technique parfaite, le jeu est naturel.
We are inundated with all kinds of supersonic Mozart but in my humble opinion Ms. Haebler is the greatest of them all. Her tone, overall sound, pacing and sublime playing is incomparable. There is little ego, but massive Mozart...I do believe that Alfred Brendel has concurred on her Mozart being incomparable as well. Some things are just not meant for mass consumption.
The most beautiful performance of this sonata I have ever heard. Brava!
Also love it very much... So gracious !! Funny flow...
1:04 Such a beautiful melody!
Я, образно говоря, схожу с ума от музыки МОЦАРТА.. Она небесно~прекрасна!!!!
J'adore. Avant Haebler j'avais écouté la version Barenboim. C'est la nuit et le jour. Chez Haebler il y a des sentiments, une humanité. De l'expression. Avec Barenboim, j'ai l'impression d'entendre mon ordinateur. Un robot qui joue, pas un être humain.
This is so good - Because I wrote it.
I don't remember Mozart being Russian HMMMMMMM
@@idkidk1831 i agree with you👍
@@idkidk1831 Didn't you hear? Even I did. Mozart visited Russia and I came with him last Thursday!
@@therealrealludwigvanbeethoven how delightful of Mozart! Can he speak Russian though? Was he making ass jokes and simultaneously composing a canon while drunk with vodka?
@@idkidk1831 I'm not sure.
So beautiful. I feel like some people don’t like the Classical Era as much as, say, the Romantic Era because it can be less outwardly emotional. I wrote a couple of pages for a class once relating the music of the Classical Era to Beowulf. We were having a discussion about Beowulf as a hero-a perfect hero, that is. No flaws. It makes sense why he is not so relatable, which makes a good story, but I made an argument that while we may not find his story most interesting at first, it is a great highlight of humanity; the perfect hero symbolizes our desires and what we strive to be. What could be more human than that?
Every era of music is the same expressive in terms of emotions because that's the essence of music. But the romantic era is closer to our 21.st century understanding of music than the classical or baroque era
I actually love baroque (Handel, Rameau, Scarlatti, etc)… LOL
Rupert Tmls The Baroque Era is my favourite.
Yeah we talked about literary romanticism in AP Lang too
I hate Romantics, most of their works, are incomprehensible to me.
Прекрасная музыка.! Гениальный Вольфган Амадей Моцарт! Как красиво и легко играет музыкант такое сложное произведение! Огромное спасибо за счастье Вас слушать!
Figure 2-3 00:07
Figure 4 00:44
Figure 5 second theme 01:05
Figure 6-8 development 02:54
Recapitulation 03:53
Elmo's World: Birthdays, Games & More!
My favorite 2nd movement! Thank you !
Wunderschöne Interpretation dieser kompakten und fein komponierten Klaviersonate im lebhaften Tempo mit kalrem doch elegantem Anschlag und mit perfekt kontrollierter Dynamik. Der zweite Satz klingt besnders schön auch lieblich. Einfach wundervoll!
I like this sonata a lot. The first movement was played by jerry in one of the musical chapters of tom and jerry kids. Good child memories
I really like this! Thank you for the thorough description which really helps understand this piece and puts it in context.
Gosh I love it when I listen to a nice piano piece and realize I could play most of the right hand on my violin!
My favourite Sonata from Mozart!
Imagine a meeting of these two geniuses
I like Ingrid Haebler's Mozart. No nonsense, but still full of life. Didn't know much about her, but a google search told me she is famous for her Mozart sonata recordings - I can understand why! Curious of the piano, sounds a little Bechstein-like. Fits very well. Thank you!
She also recorded the complete Mozart violin Sonatas and Schubert 3 Sonatinas with Henryk Szeryng, also superb quality.
@@bartjebartmans That must be very good - Szeryng is my favourite violinist among the masters of his time.
I prefer M. Joao Pires’ recording
great uploads, thank you Bartje
The phrasing in all of your videos is just superb
00:07 1악장
05:28 2악장
10:41 3악장
The Adagio is the best waltz I would dance under it 😌
Did you mean the Adagio?
@@rishikde5346 yea, I changed, thanks.
I would like to see you try! It‘s not a waltz at all.
@@wingcap1448 Not technically in a waltz form and I don't think it would work, but is in 3/4 time -- personally i think it's way too slow to be a waltz -- perhaps more suited to dancing a minuet instead. :- ) Maybe we'll see it on some upcoming episode of Bridgerton haha
Such joy to listen . . . thank you !!!
Did Mozart compose this sonata for Ingrid? Her performance is flawless.
RIP, Frau Haebler.
1. Allegro (Sonate)
Exposition
0:07 - Groupe thématique 1
0:45 - Pont
1:05 - Groupe thématique 2
1:22 - Codetta (puis reprise à 1:30)
Developpement
2:54
Reexposition
3:52 - Groupe thématique 1
4:25 - Le pont a disparu
4:25 - Groupe thématique 2
4:50 - Extension du G. t. 2 faisant office de coda
2. Adagio (Lied)
5:28 - Première partie
6:37 - Partie centrale
8:45 - Première partie
9:52 - Coda (partie centrale ecourtée et à la tonique)
3. Allegretto (Rondo sonate)
Exposition
10:41 - Groupe thématique 1
11:16 - Pont
11:51 - Groupe thématique 2
12:03 - Codetta (aucune reprise)
12:12 - Groupe thématique 1
(12:36 - transition harmonique effectuée dans le G. t. 1)
Developpement
12:55
Reexposition*
13:27 - Pont
14:02 - Groupe thématique 2
14:13 - Codetta
14:33 - Groupe thématique 1
14:54 - Coda
*Le G. t. 1 n'a pas besoin d'être reexposé puisque c'est surtout lui qu'on a entendu pendant le développement.
Bravo!👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
In stark contrast to Beethoven, Mozart was such an optimist - yet both of their music resonates.
I don't think he himself was an optimist, his music certainly is, but in favor of the audience. But again, I'm not that into Mozart, so :v
But they just shouldnt be compared in that way, i just hate when people do that, it’s just- infeeeeerior lol. I MEAN ITS their SONATAS - thats not what u compare when speaking on Moz and Beet, at all.
Mozart's Sonatas are my favourite , couldn't find anything better
Not at all, Beethoven is arguably the greatest optimist of all time. His music almost always ends in triumph, or die trying, whether in struggle or victory. He never wrote anything that truly ended in grief. Give his major works a listen from beginning to end rather than just one small snippet. It's much more relatable to the human experience but gives one the energy to tackle all the hardships in life and more importantly it's about hope. Mozart meanwhile is much more of an escapist, when he suffers he retreats to a childhood fantasy of perfect scenery, pretty flowers, princes and princesses. His music is therefore often 'perfect' in such an imperfect world. When Mozart writes grief in his music however brief, it's a religious almost spiritual type of grief that's embroiled in mystery and pure hopelessness. Not something you can walk away from without being impacted by a feeling of other worldliness.
@@segmentsAndCurves Mozart was no optimist, and it shows in his music, if you peel just beneath the surface, a very terrified and traumatized child, suffering the most insufferable, refusing to face the realities of a harsh world. Beethoven owned his suffering, fate and took it by the head and wrestled his difficulties to the ground with him. He never goes down without a fight and leaves one with moments of pure hope and triumph.
Marvelous!
Quite fortuitous to find this TH-cam recording. So clean, and I do love Ingrid Haebler's interpretations and tone production. For the past month I have been looking all over for a clean digital recording of her playing the Chopin nocturnes. My LP is so scratchy anymore that I really wish I could listen to a cleaner version. Any ideas, other than going through the UK which insists that I have a UK address in order to purchase the digital download?
This is so spritely and impish. It's like a juvenile Mozart is pranking the stuffy old people. Pure Mozart. And a perfect breakfast music.
This was described as easy?!? The first movement is *hard as hell*, and the last movement's no picnic either.
LOL I’m learning the whole sonata!!! Wish me luck
@@abbey9428 Good luck! It's one of my favorite Mozart sonatas.
Yea counterpoint is no joke
I cannot imagine this Sonata was ever described as easy. Maybe they meant not easy to play but easy on the ears and light-hearted or something like that.
3:44 What was that major 7th, Amadeus? :O
Popular exam piece for performance diploma.
Kein Pianist spielt die Werke
MOZART's so wie die begnadete
INGRID HAEBLER !
Das kann ich als Salzburgerin wirklich SO feststellen !!
Простите, не поняла. Вы пишете, что никто не играет произведения Моцарта. Это вообще или касается кого-то конкретно..? Но, всё же, кто-то играет??
He main theme of the last movement makes an appearance in the finale of Mozart’s 14th Concerto . Not sure if WAM was deliberately quoting the earlier work here or not. Maybe coincidence .
He always used melodies, fragments of works he was working on at at the same time, even older works he not consciously remembered as he mentioned once or twice in his letters. That part the movie Amadeus got right. In the Divertimenti for instance themes from the Violin Concertos appear but also in the Symphonies. I think that was common practice in those days, Beethoven did it, Haydn etc. etc.
Я тоже это заметила в некоторых произведениях. Тем не менее они прекрасны! Всем добра и любви!
is the final scene Mozart's house?
Some oddities in form. In the first movement the recap isn't verbatim with the expo. M uses some development here.
In the second movement there is a developmental section whose transition to the theme 1 is rather strange in terms of harmony. The third movement is a rondo but it has many aspects of Sonata form. In the first section there is a secondary theme exactly like the primary theme with a small difference.Also one of the episodes is a development.
On second look the third movement is actually in sonata form. Normally in the exposition we get theme group 1 and theme group 2 contrasting in dominant, a repeat of entire section followed by development and then the recap.
Here we have exposition 1st time normal with TG 1 and TG2. And then a repeat. But the repeat has a development inserted between the two TG's. Then there is a recap which has TG 1only and a closing.
It is sonata allegro form with some reorganization. Also Theme 2 is so similar to theme 1 we can say its monothematic.
In the second movement as I mentioned in the first comment, there is an abrupt change from f#m to dm.
This is done by abruptly inserting an f natural in bass with a d in treble. dm then goes to AM ( minor iv
to a I). Mozart could have easily gone from f#m to AM since they are relative. This is done in the interest of providing new color and making it less predictable.
Week-end (1967) by Jean-Luc Godard!
That traffic jam! And this beautiful sonata!
Mozart had such an imagination because he remembered everything he ever heard. He didn't have to rework or go back to old notes. If he was writing in d minor, he would pull from his brain all the d minor works he heard. That was one of his main talents that separated him from Bach, Beethoven. It paid off. Multiple masterpieces in every genre of his time. We know Beethoven can't even say that and I question whether Bach could too.
Nonsense. Where are you getting this information from?
@@therealrealludwigvanbeethoven lots of info on Beethoven about his endless notebooks and how much work he spent on certain pieces. Notes on your 9th symphony go back 20 years before his death. Not to mention, the main theme from the final movement of his 9th is a variation of mozarts theme k222 which not coincidently is also in d minor. Which part do you question, and I will do my best to answer?
@@beethovenlovedmozart The part you conveniently ignored, and which comprised the majority of your comment: that Mozart could remember "everything he ever heard," pulling from his brain every single work in d minor he had ever listened to.
@@therealrealludwigvanbeethoven there is plenty of evidence out there of it. Nobody documented much about it, but when you read the letters, stories, and study his music it's obvious to come to that conclusion. On the other side of it, there is nothing that suggests Beethoven had that ability as he pretty much wrote down every idea he ever had and always had it with him. I'll give you one such example on mozart. When he was in his young teens, he played in the orchestra of Michael Haydns requiem. I think he played a woodwind but not sure. He loved the requiem and only went to 2 performances. There is no record of him ever having the score of it yet , 16 years later when he wrote his last requiem he paid tribute to Haydn, and did many passages in which you think he was copying his requiem. It is my belief, that he knew he was going to die, and paid tribute to his friend Joseph Haydn by incorporating his brothers requiem because he remembered it. That's just one example. How else can a man write a masterpiece in 3 weeks time which he did several times? It's because every piece, experiment he did , stayed in his memory. He didn't have to go back to endless notes to write something. I've given you examples that most people don't know about. I won't even go to the documented church example where they wouldn't let him take a copy of music he had just heard, and a week later he wrote down note for note on paper. That's what separated him from most.
Hi, im a University student of cinema at Uruguay, can i use this for an exercise?, it wouldnt be published at internet as public. ¡Thanks!
You can use anything you want.
😘@@bartjebartmans Thanks for your quickly response, im very glad. ¡Have a good day!
💝💝💝 TY
Is it just me or does the last movement not have a development section?
It's a very dificult sonata. I wonder if there is a De Larrocha's version. She would be great on this.
Not better than Haebler. I have all Larrocha's recordings as well, they are very good.
l have a badly damaged LH 4th finger and l'd like to learn the Adagio movement in order to return to playing the piano again. l wondered if anyone could advise me if this might be possible? Does anyone know what grade this would be performance wise? Many thanks 🫒
Just listen and play, and see what your left hand can do....there is no grades in music, just music you love and play 🙂
Intermediate to play it, advanced to play it well. :-)
You must remember what you saw, Mortals !! ✍️✍️✍️✍️✍️✍️✍️✍️✍️
Don't sweat the small stuff!
01:30
Mozart, le prince charmant des nuances équivoques (la joie, la tristesse)... et le démon sublime des métaphores enjouées... Tenez, là, par exemple : qui ne verrait un garnement courir après les fesses toutes roses d'une fille -- sinon ceux qui voient un jeunot rosir les joues rouges d'une fillette...
13:53
Adorable song
@Milton Wang song
@Milton Wang song
@@iamstillthinkingwhyyyyy
I hear Jupiter sympohny in the first movment
A lot of what he does in the first movement seems to touch on the Haydn E minor Hob 1: 34 written a few years earlier.
From On the Go
The first movement is so hard 🥴
3:50
So this is his hardest sonata? Mozart be using 1% of his power
Is*
@@authenticmusic4815 *Was
@@therealrealludwigvanbeethoven *used instead of was using
@@HowardTse Well, we could write it either way. Either 'Mozart was using 1% of his power' or 'Mozart used 1% of his power'. In the case of the former, we are speaking in the past tense, when he composed his last piano sonata.
It's very difficult to play it well.
Maybe too focused on the “Mozart sound”?
who? you? lol
@@bartjebartmans Apologize if I said something rude. I was thinking about how to play this piece most musically, and I think there are moments which can be treated in a better way. It might be because I have a different taste, so I wonder if you could explain to me how you feel the recording?
The A staccato at mm. 2 weakens the upward motion and the forte mood(hunting call mood) of the opening. This diminishes the mood change at mm. 3 with the slurs. And the diminuendo at mm.6 weakens the sudden darker color of E minor, as well as the color shift at mm. 7, which I think is more surprising, melancholy and questioning, like a quiet response to the interjection of E minor arpeggio(mm.5). And this moves the piece back to A major so gently and gracefully. So this color shift is very dramatic and important. From my opinion, all these important details unite this part into flowing developing music.
At mm. 9 is the return of the opening AM arpeggio. It is like a more vibrant and joyful reiteration of the opening mood. But the decrescendo at mm.11 reduces this mood a bit too soon so it loses the strength and development, which is crucial in connecting the two reiterations and let the music flow into the alberti bass part.
Especially at mm.16. This is a surprising and important change in character. I think it deserves more emphasis. It is also again a change from E minor's darker color back to A major's warmth. This place elevates the piece so much!!! Like gentle sunlight making everything around me friendly and warm, which is something new and significant at this moment.
And mm.24. It is after this repeated warm section that the music grows and moves forward into this jubilant descending line. It is leaking out from the music uncontrollably. From my taste, a sudden forte disconnects such flow.
There is still a lot to talk about, but the place troubles me the most is at 3:29, where the music shifts to F# minor. This exact place, which has stayed in my memory for 10 years since I first played it, deserves more emphasize(this is also why it is marked p, and in some editions there is an mf before the F# minor section). It is the place where the music breaks the "polite, joyful" mask with an outburst of lament. How could one bear the grief and loneliness from this place? From my opinion, it is this exact place that made this sonata a great music. It adds so much depth into the music, although every detail inside this piece is worth analyzing.
I am really a naive young music learner, and I am not thoroughly trained in a conservatory. So I would be really grateful if you could teach me how you understand this piece and the recording from a different meaningful perspective.
LOL found an article talking about similar things I noticed by gramophone on Ingrid Haebler and the "Mozart sound": It is light and pleasing to listen to but sometimes lacks the color and drama. I am glad that I had these discoveries on this recording, trusted my feelings, and put it into words. And I am glad that there are people who may share my feelings.
@@lye1_1agree
02:53
8:15
😇🌹❤🎹🎼🎵🎶
200 years later after Mozart wrote this, a genius was born.
I love Mozart but i am not crazy about his piano sonatas, except maybe for the k310. Still, this piece is nice.
The opposite for me. K310 may be my least favorite Mozart sonata as of now (although it changes quite frequently)
어서와라 경희대 보는 자 들이여…
EASY--
왜 알고리즘에 이게 뜨지
My sonate not right no.19 d maj no.18 f maj
Prove me right!
I hate this Mozart piece but was given this as homework once upon a time. Didn't finish it because we ended up focusing on a larger romantic piece with my teacher instead.
I had to quick lessons for a few years and am planning on going back. Decided to learn this after all in case she wants me to learn it, obviously before resuming lessons. Also it's good practice to make my fingers quick and nimble again after all this time
Sorry to heat that, Mozart is my all-time favourite
e chi se ne fotte....
And all of you people on the dislike section please stop being ignorant, he deserves to have his taste, he wasn't being biased.
Its absolutely fine that you hate this, but it's an amazing sonata in my opinion.
Yes, I absolutely HATE this sonata too! I am so ashamed that I once believed Mozart to be a pretty good composer. Of course, this all ended the day I first listened to K576, and its malodorous cacophony of random pseudo-classical! percussion, which any child could produce in its sleep.
In short, Mozart murdered this composition with its…too many notes!
Elegante, ma a me non piacciono i trilli a 4 note nel secondo e terzo movimeno, preferisco sostituirli a due note. Non mi piace il pianissimo della mano destra nel finale del terzo movimento.
just tryna study for a test tmrrw XD
What‘s up with this interpretation? It’s so lethargic.. Everything sounds soft, gentle, kind. No accents, no forte, no rough edges. It just doesn‘t seem to be saying anything to me.
Glider
Parasail
Hang Glider
Hot Air Balloon
Отточенно. И никаких колебаний ритма,темпа,с почти ровной динамикой.
Pets
Surprisingly slow
0:07
11:49