This surely must be Mozart at his solo-keyboard finest. It's the essential Mozart and yet when I listen closely I hear echoes of Haydn and Beethoven's early sonatas also. Your tempi allow the music to breath, to have a more natural grace and dance-like movement. I recently listened to Bach recordings of my harpsichord teacher from the 1980s and her performances were at a much slower tempo overall than I've heard on most recordings since. She taught me to listen for the dance elements in music and to bring those out at the keyboard. I certainly hear that in your performance. Bravo!
I feel like I'm listening to an opera. There is just such a massive range of emotions that follow each other in a way not unlike Wolfgang's own incredible works, often dramatic and then slightly comedic in nature or just cheerful. My guess is that Figaro and Papageno are winking at us somewhere between these notes. Thank you once again Wim, delightful performance of one of my absolute favorite composers and a big round of applause to the cast :)
That's an excellent reflection, Eduardo and I cannot underline hard enough how true this is: so much keyboard music simply imitates both the singers and the effects of the opera. Only realizing that will prevent people from taking to many fast 'keyboardish' tempi. Thanks for listening!
Since you own a Zoom H1 too, I would love to hear how the Zoom H1 records the clavichord. If you have some minutes to try it and send it to me on Facebook I would be very grateful!
tomorrow you'll hear that in the Wednesday video (with a shotgun mic , but the sound quality is very similar), it will not make you happy...! for speech it is really ok.
As much as I admire Mr. Wim Winters, I cannot stomach these slow tempos. The tempo has much to do with the harmonic rhythm. Just play the bare chords of a piece and ask what tempo you want these to be played in. I doubt you will want the chords of the three movements of this Mozart sonata played at the tempi that are chosen here. That most if not all recordings of this sonata choose much faster tempi is an indication that most musicians will agree that the present tempi are too slow. I doubt that this is because those musicians are only “following tradition” or Moscheles. The many positive comments here, stem in part I believe from the interest in hearing the sonata in a new way. The current tempi build on a theory, which like many theories may be wrong. However, I admire the courage of Wim Winters to try it out. Another point I cannot stomach is the constant agogics. These stem certainly from the slow tempi. I believe that much of the expression in Mozart lies to the contrary in finding joy in the rhythms. This joy seems to me is lost with too much obvious agogics. Last but not least, I hope that Wim Winters continues on the path he chooses for himself to be most convincing, but is also prepared to discard this tempo theory if he at some point, maybe later, finds it flawed.
Lovely playing, and just fractionally slower than I play without any regard for the metronome. I always believed I was playing far too slow! The last movement particularly is quite lovely at this tempo and doesn't require a concert pianism technique. I do wonder though whether; is it far more difficult to play/listen at a faster tempo in the clavichord? I think with a modern piano, it is very easy to run away with a faster tempo. A faster tempo leads to all of Mozarts ideas rushing by with your ear running the keep up with the fireworks, while this slower tempo gives the music a completely different and delicate character, with all the genius of Mozart's judicial choice of "a few right notes in the right order" to convey the unadorned beauty. I will go back and play this myself later on, at this tempo.
Again, I am floored at how meaning your recordings have become to me. I was so resistant to it at first. Above all your phrasing is exquisite! It is like listening to an opera.
I love how you "revive" this instrument with these amazing HQ recordings. It's such an overlooked yet amazing instrument. There is quite a noticable space for more variation in velocity of touch that the harpsichord doesn't offer. Where do you even get one of these nowadays? Great stuff !!
When people finish school, they can do whatever they want with their lives and live their passions - which I think is one of many beauties of life. I think you are showing us your passion very well, and that’s one reason I love your channel. Thank you for your content, it has inspired me greatly. -Momo (first prize winner of ‘Young Musicians of the Gulf’ 2018 :-)
This is my favorite sonata by Mozart, and you play it so wonderfully. I am learning so much from your careful choices and expressive playing. Thank you, thank you, thank you.
I initially played this piece around the tempo played here as it just felt right to my ear. I was shocked at how overly quick the piece is performed by others. A few ways I can tell this is much closer to the true intent is that the melodic phrase at the beginning feels much to forced at a faster tempo. Also the circle of fifths progression at the end of the B section clearly demands to be played slowly and resonate with profundity rather than being rushed over.
I see a recurring theme in your comments Mr. Winters, of people disagreeing with your tempi preferences. And you make videos explaining these interpretations, and I must say I am with Andras Schiff on this one, an artist should never have to explain themselves, only provide the listener with a sufficiently convincing performance. If it does not succeed in convincing them, they will be nourished elsewhere, and this is fine.
I think your performances in WB are magnificent. No longer Mozart sounds like an annoying brat running around the house, but a mature composer of incredible emotional depth. I don't even care if WB is historical truth or not: it SHOULD be.
What a wonderful piece. I heard it first in an animated series in my childhood, called Saint Seiya. Then, I heard it played by Gulda, and it became one of my favourite pieces by Mozart. I like a lot your version, it sounds very interesting in the clavichord, very intense.
@@juanferestrada Disculpa por responder tan tarde, no había visto el comentario. Es durante la pelea entre Seiya y Misty, mientras pelean, Saori la toca en las ruinas quemadas de la mansión Kido
I enjoy your playing very much. I recognized those first three notes. After searching, it is identical of the first three notes to the first movement of Mozart's Piano sonata No. 16 in C major K545. Also the motif at the 1:10 mark can be compared to Verdi's intro of "La donna e mobile" (Did Verdi copy Mozart's motif?). Learning more of music by you Wim makes it fun. Thank you Wim.
I think these tempos fit the clavichord, but I’ve always felt Mozart would put flourishes of notes and rhythm in his sonatas and I think they don’t come out fully with these slower tempos. These remind me of practice speeds vs performance speeds. I know you have a lot of videos...do you have any commentary on his piano concertos? because he told his father once that 450 made him “sweat”.
fantastic... this new perspective, or maybe better 'renewed' perspective, the world is at our feet! Recently when i was with some Chopin Préludes and i listened to some recordings and then compared it to my initial impressiona of the pieces, something was not right... i wondered why such a great master like Chopin composes all these magnificent little details as well when in the end it cant be recognized in the shiny super fast performances anyway? well, in many ways, here on your precious and very exciting and fascinating channel i see this issue addressed and i am lookig one after the other video right now. When a little student comes and plays me one note and asks me if this was an eights note, what is the answer? how can it be a definitive eight note, or any value, without the reference of another point in time? i feel this is very close in a way to the whole beat. Thanks a lot, i am in a rabbit hole!
Did Mozart ever discuss tempi for his music? I recall a comment about how some tried to play too fast to cover poor technique, but what is too fast? Anyway thanks so much for sharing another beautiful rendition Wim!
When meeting Vogler, he wrote to his father than a true musician can be recognized in the choice of correct tempi when reading from paper. th-cam.com/video/t5XcMYNrnio/w-d-xo.html
One of my favorite sonatas by Mozart Sounds close to forte piano ..listen to Semerjian play this on an actual Walter and u will see you did well my maeastro
Absolutely wonderful ... no comparison, Wim! Bravo! I remember when I was a teenager and I would watch fooball on Sundays. I wanted to go out and play football, but Buffalo, NY during the old football season meant that is was pretty much wintry weather, and I could not ... :( Your playing these pieces makes me want to go get the piece printed out and play through it. Alas! The place where I go to get my music printed is closed because it's seconds to midnight right now ... :( I guess I'll just have to be depressed till tomorrow when the cyber opens again ... :D Great work, Maestro!
Wow! How delightful to hear Mozart played like this! Notation really sounds like something I would like to dive into. Where can one read about it? Do you have any literature recommendations? Thanks!
There is not much published with perspective to tempo ordinario and notation. I will devote my time the coming months, year, to work on that myself. Videos in which I practice and come to conclusions may be found here th-cam.com/play/PLackZ_5a6IWVD8MFyQX7laUvZavkSIH8j.html and on other place on my channel, just use the search tool, you'll find a lot I guess already there
The last movement is a revelation! I picture a room with people dancing! This tempo reconstruction has changed the way I play Mozart from this day forward! Thank you!
Mozart was criticized in his day for having an "iron ear." And the proverb of the construction site says it so well, "iron is nobody's friend." I can see why his audience revolted and abandoned him. It was not only because of the war late in those last ten years of his life, but I, for my part, want and and need the iron, the sword through my heart. And you, Wim, and your clavichord leave us no doubt about the hardness and sharpness--which like that of life, brings out the loveliness by contrast!
I am completely amazed by this performance Win . I've never been a big fan of mozart , because I often thought it sounded a little bit "childish" , but it's amazing to hear it in the clavichord with so much passion. I will give a try at this sonata!
Ich bis sehr überrascht daß Mozart eher späte Sonate auf einem Claviecord sehr passend klingt. Ich hätte erwartet daß Fortepiano wär ein Orakel was Wiener Klassische Komposition angeht. Aber hier bin ich voll verzaubert. Das Tempo ist etwas was ich noch Zeit benötige um Ihr Argument verinnerlichen und sogar adaptieren kann.
A listener to Mozart for sixty five years, I am so set on your tempos and pitches that I can hardly listen to anything I heard before I found you. One tiny point. No need to spoil your beautiful prose with his/her. I am also a Bible student of the same long years, and the Bible does not talk that way, while having the most exalted view of woman. Yours Vincent Shaw Flack, subscriber
Hi Wim, the adagio sounds like an adagio, great sensitive playing. Wonderful sonata. I will be playing this sonata for "Artsen zonder Grenzen" in the coming months. thx for uploading the great music of Mozart.
At this speed Mozart's work it's astonishing. Thank you Wim without your interpretation I've never seen the amazing genius Mozart is. I mean I now he was a genius but a this tempo the sense it's completely different. Thanks again. Gretings.
Stupid question: Did this sonata have to be transposed, if that’s the word, for the limited range of this keyboard, or was it written for the clavichord?
Good clavichords have a very large dynamic range almost similar to that of an early pianoforte, but with the extra of constant finger contact with the string which gives a micro-dynamic that you will notice, not actively hear, but makes the whole super flexible
Hi Wim, would it be possible to release Authentic Tempo Reference Guide for most popular music from Baroque to Romantic period, or it is too much work?
It will be one of the things I'll be working on the coming months, you'll hear about this on the channel (or the mailing list, that's an easy way to be informed)
Thank you for the recording! One small thing: in the description, in the part about Moscheles; there is written "Beethove" but I'm pretty sure it should be "Beethoven". Not to be annoying, just to help :)
Absolutely beautiful... Such a lovely sound! And played with perfection, in my opinion. The interpretation is so artistic yet played with good taste. Listening to this I can imagine sitting in a salon from that time. I'm surprised how expressively that instrument can be played.
I have a practice of this 3rd movement. You add ornamentations in some parts. That's nice , I think. We can observe how you play. That's super helpful.
I'm working on this sonata right now, and your video here has just given me a whole new level of insight and inspiration - thank you! This tempo and tambre are stunning.
The musical execution here is truly excellent and opens new perspectives to the piece (what is the significance of this or that note or phrase...). I know too little about historical "tempo correctness" - the Moscheles tempi in their "modern" interpretation seem (still?) just so right to me (as eg Bezuidenhout chooses them) - for discussing this point in general. The more I listen however, the more I feel something is missing. I guess they are actually three things which all relate to the tempo as well: 1) "legato cantabile" feeling at the second movement: The phrases seem a bit disrupted and it's quite difficult to perceive a longer phrase as a whole (but still possible because of the great "putting every single note to its designated musical place" what makes it interesting). 2) Rhythmic and dance-like feeling, especially in the 1st and 3rd movement. 3) Witty and humorous feeling. I don't know, it just feels all very serious and "romantic" and as though you try to put in more solemnity in quite "simple" music than there actually is. A thought I had while writing this was: "You could never apply this tempo approach to Mozart's chamber music!" Imagine a "half tempo" (for contemporary ears) string quartet. But on the other hand, it seems that Mozart writes in a different, often more intimate "style" for pianoforte solo than for other groups of instruments... Anyway, it's an impressing work you do, I'm eager for trying other tempi as well!
Am learning this sonata, and, while I'm still unsure exactly how much I agree with all of the tempo stuff, the last movement certainly sounds better at a tempo closer to yours than to, say, Gulda's (whose performance I love, otherwise). Personally I still take it a touch faster, but the feel is the same, as far as I can tell :P. EDIT: Might also say that the slow movement sounds perfectly natural at this tempo. I think it's about the same as mine, anyway, for what it's worth :P
Thank yu Wim! Marvelous as always! I'm hearing this sonata as tuned down by a semitone (played in E major, second movement in A major). Is it just my imagination? If not, Could you please explain why you chose this tuning? As always, thanks for music that opens the ears and the heart.
I LOVE this sonata and I have always played It at a higher speed. My impression has been always that you lose a lot of details hidden in the movement when you play it quickly and makes it difficult to play when we would think this sonata is"easy" and in fact It is not so.
This surely must be Mozart at his solo-keyboard finest. It's the essential Mozart and yet when I listen closely I hear echoes of Haydn and Beethoven's early sonatas also. Your tempi allow the music to breath, to have a more natural grace and dance-like movement. I recently listened to Bach recordings of my harpsichord teacher from the 1980s and her performances were at a much slower tempo overall than I've heard on most recordings since. She taught me to listen for the dance elements in music and to bring those out at the keyboard. I certainly hear that in your performance. Bravo!
Thanks Gregory!
Your little cadenza at 6:40 is so brilliant!
I feel like I'm listening to an opera. There is just such a massive range of emotions that follow each other in a way not unlike Wolfgang's own incredible works, often dramatic and then slightly comedic in nature or just cheerful. My guess is that Figaro and Papageno are winking at us somewhere between these notes. Thank you once again Wim, delightful performance of one of my absolute favorite composers and a big round of applause to the cast :)
That's an excellent reflection, Eduardo and I cannot underline hard enough how true this is: so much keyboard music simply imitates both the singers and the effects of the opera. Only realizing that will prevent people from taking to many fast 'keyboardish' tempi. Thanks for listening!
Wonderful rendition, Wim! The various tempi used throughout the piece were very refreshing. Well done! :)
Thanks for listening!
Since you own a Zoom H1 too, I would love to hear how the Zoom H1 records the clavichord. If you have some minutes to try it and send it to me on Facebook I would be very grateful!
tomorrow you'll hear that in the Wednesday video (with a shotgun mic , but the sound quality is very similar), it will not make you happy...! for speech it is really ok.
As much as I admire Mr. Wim Winters, I cannot stomach these slow tempos. The tempo has much to do with the harmonic rhythm. Just play the bare chords of a piece and ask what tempo you want these to be played in. I doubt you will want the chords of the three movements of this Mozart sonata played at the tempi that are chosen here. That most if not all recordings of this sonata choose much faster tempi is an indication that most musicians will agree that the present tempi are too slow. I doubt that this is because those musicians are only “following tradition” or Moscheles. The many positive comments here, stem in part I believe from the interest in hearing the sonata in a new way. The current tempi build on a theory, which like many theories may be wrong. However, I admire the courage of Wim Winters to try it out. Another point I cannot stomach is the constant agogics. These stem certainly from the slow tempi. I believe that much of the expression in Mozart lies to the contrary in finding joy in the rhythms. This joy seems to me is lost with too much obvious agogics. Last but not least, I hope that Wim Winters continues on the path he chooses for himself to be most convincing, but is also prepared to discard this tempo theory if he at some point, maybe later, finds it flawed.
It's a gimmick. People in the 18th century would have laughed at playing this slow.
Actually he plays it slow Tempo so ' students ' like you can learn how to play this piece right so he is the master and u the piss ant critic pupil 😅
Interesting.. being self taught I never though of playing the double stop scale in measure 70 with two hands.
I was so happy when Wim was recording this. This is one of my favorite pieces!
Probably my favorite of all Mozart sonatas! For musical and also personal reasons. Thanks!!
Lovely playing, and just fractionally slower than I play without any regard for the metronome. I always believed I was playing far too slow! The last movement particularly is quite lovely at this tempo and doesn't require a concert pianism technique. I do wonder though whether; is it far more difficult to play/listen at a faster tempo in the clavichord? I think with a modern piano, it is very easy to run away with a faster tempo. A faster tempo leads to all of Mozarts ideas rushing by with your ear running the keep up with the fireworks, while this slower tempo gives the music a completely different and delicate character, with all the genius of Mozart's judicial choice of "a few right notes in the right order" to convey the unadorned beauty. I will go back and play this myself later on, at this tempo.
Again, I am floored at how meaning your recordings have become to me. I was so resistant to it at first. Above all your phrasing is exquisite! It is like listening to an opera.
I love how you "revive" this instrument with these amazing HQ recordings. It's such an overlooked yet amazing instrument. There is quite a noticable space for more variation in velocity of touch that the harpsichord doesn't offer. Where do you even get one of these nowadays? Great stuff !!
Thanks! A clavichord needs to be built by an instrument builder, you'll find still a handful of good ones
When people finish school, they can do whatever they want with their lives and live their passions - which I think is one of many beauties of life. I think you are showing us your passion very well, and that’s one reason I love your channel. Thank you for your content, it has inspired me greatly.
-Momo (first prize winner of ‘Young Musicians of the Gulf’ 2018 :-)
Congratulations!
Thanks!
Great to read!!
Excellent performance. One of Mozart's best sonatas.
Thanks Lawrence
You are a great musician! Thank you so much for your videos! I'm glad I found your channel!
Great to read Isaiah, welcome here!
I like the birdseye view of your hands. If you are going to make tutorials, be sure to use this camera shot.
This is my favorite sonata by Mozart, and you play it so wonderfully. I am learning so much from your careful choices and expressive playing. Thank you, thank you, thank you.
Great to read!
You've become my favorite keyboard player ever. You're absolutely peerless in the standard keyboard repertoire of the very greatest composers.
Mozart decidedly sounds great on the clavichord, too : the proof is made :) As always, thank you thank you thank you for all the beauty my friend.
Thanks for listening Emmanuel
I initially played this piece around the tempo played here as it just felt right to my ear. I was shocked at how overly quick the piece is performed by others. A few ways I can tell this is much closer to the true intent is that the melodic phrase at the beginning feels much to forced at a faster tempo. Also the circle of fifths progression at the end of the B section clearly demands to be played slowly and resonate with profundity rather than being rushed over.
I see a recurring theme in your comments Mr. Winters, of people disagreeing with your tempi preferences. And you make videos explaining these interpretations, and I must say I am with Andras Schiff on this one, an artist should never have to explain themselves, only provide the listener with a sufficiently convincing performance. If it does not succeed in convincing them, they will be nourished elsewhere, and this is fine.
I think your performances in WB are magnificent. No longer Mozart sounds like an annoying brat running around the house, but a mature composer of incredible emotional depth. I don't even care if WB is historical truth or not: it SHOULD be.
hola. suenan muy bien las obras ,pero el canal debería de estar traducido al castellano todo el canal sue
Terrific recording!
What a wonderful piece. I heard it first in an animated series in my childhood, called Saint Seiya. Then, I heard it played by Gulda, and it became one of my favourite pieces by Mozart. I like a lot your version, it sounds very interesting in the clavichord, very intense.
Thanks Carlos
At what moment in Saint Seiya does that happen?? I’d love to check that out
@@juanferestrada Disculpa por responder tan tarde, no había visto el comentario. Es durante la pelea entre Seiya y Misty, mientras pelean, Saori la toca en las ruinas quemadas de la mansión Kido
Athena plays it, right ? During the fight against the chameleon.
@@juanferestrada Athena plays it when Seyia fights the first silver saint.
I was waiting for this sonata a lot hehehe I loved your execution ... I played this sonata a long time ... Thanks!
I enjoy your playing very much. I recognized those first three notes. After searching, it is identical of the first three notes to the first movement of Mozart's Piano sonata No. 16 in C major K545. Also the motif at the 1:10 mark can be compared to Verdi's intro of "La donna e mobile" (Did Verdi copy Mozart's motif?). Learning more of music by you Wim makes it fun. Thank you Wim.
Thanks Joseph
I think these tempos fit the clavichord, but I’ve always felt Mozart would put flourishes of notes and rhythm in his sonatas and I think they don’t come out fully with these slower tempos. These remind me of practice speeds vs performance speeds. I know you have a lot of videos...do you have any commentary on his piano concertos? because he told his father once that 450 made him “sweat”.
fantastic... this new perspective, or maybe better 'renewed' perspective, the world is at our feet!
Recently when i was with some Chopin Préludes and i listened to some recordings and then compared it to my initial impressiona of the pieces, something was not right...
i wondered why such a great master like Chopin composes all these magnificent little details as well when in the end it cant be recognized in the shiny super fast performances anyway?
well, in many ways, here on your precious and very exciting and fascinating channel i see this issue addressed and i am lookig one after the other video right now.
When a little student comes and plays me one note and asks me if this was an eights note, what is the answer? how can it be a definitive eight note, or any value, without the reference of another point in time?
i feel this is very close in a way to the whole beat.
Thanks a lot, i am in a rabbit hole!
Did Mozart ever discuss tempi for his music? I recall a comment about how some tried to play too fast to cover poor technique, but what is too fast? Anyway thanks so much for sharing another beautiful rendition Wim!
When meeting Vogler, he wrote to his father than a true musician can be recognized in the choice of correct tempi when reading from paper. th-cam.com/video/t5XcMYNrnio/w-d-xo.html
The Adagio was to me sublime! Thankyou Wim. Surely only possible to achieve on a superb
Clavichord as Joris has made. - "Nunc Dimmitis" !!
Comfortable speed😂 I like this tempo, and could let us listen to each notes very clearly 😆
One of my favorite sonatas by Mozart
Sounds close to forte piano ..listen to Semerjian play this on an actual Walter and u will see you did well my maeastro
I love that sonata!! :D
Great!
Thanks for doing this. It is a service to share this instrument's sound with us. Interesting choices, things I thought I would never hear.
Glad you enjoyed it!
That building tension in 6:05 is profound!
Absolutely wonderful ... no comparison, Wim! Bravo!
I remember when I was a teenager and I would watch fooball on Sundays. I wanted to go out and play football, but Buffalo, NY during the old football season meant that is was pretty much wintry weather, and I could not ... :(
Your playing these pieces makes me want to go get the piece printed out and play through it. Alas! The place where I go to get my music printed is closed because it's seconds to midnight right now ... :(
I guess I'll just have to be depressed till tomorrow when the cyber opens again ... :D
Great work, Maestro!
SUPER-BRAVO!!! Brilliant man!
Wow! How delightful to hear Mozart played like this! Notation really sounds like something I would like to dive into. Where can one read about it? Do you have any literature recommendations? Thanks!
There is not much published with perspective to tempo ordinario and notation. I will devote my time the coming months, year, to work on that myself. Videos in which I practice and come to conclusions may be found here th-cam.com/play/PLackZ_5a6IWVD8MFyQX7laUvZavkSIH8j.html and on other place on my channel, just use the search tool, you'll find a lot I guess already there
Norton Anthology of Western Music vol. 2 includes this piece.
The last movement is a revelation! I picture a room with people dancing! This tempo reconstruction has changed the way I play Mozart from this day forward! Thank you!
Mozart was criticized in his day for having an "iron ear." And the proverb of the construction site says it so well, "iron is nobody's friend." I can see why his audience revolted and abandoned him. It was not only because of the war late in those last ten years of his life, but I, for my part, want and and need the iron, the sword through my heart. And you, Wim, and your clavichord leave us no doubt about the hardness and sharpness--which like that of life, brings out the loveliness by contrast!
I am completely amazed by this performance Win . I've never been a big fan of mozart , because I often thought it sounded a little bit "childish" , but it's amazing to hear it in the clavichord with so much passion. I will give a try at this sonata!
Thanks! Mozart barely survives because indeed his music sounds like you describe because of the insane tempi we take today
Ich bis sehr überrascht daß Mozart eher späte Sonate auf einem Claviecord sehr passend klingt. Ich hätte erwartet daß Fortepiano wär ein Orakel was Wiener Klassische Komposition angeht. Aber hier bin ich voll verzaubert. Das Tempo ist etwas was ich noch Zeit benötige um Ihr Argument verinnerlichen und sogar adaptieren kann.
A listener to Mozart for sixty five years, I am so set on your tempos and pitches that I can hardly listen to anything I heard before I found you. One tiny point. No need to spoil your beautiful prose with his/her. I am also a Bible student of the same long years, and the Bible does not talk that way, while having the most exalted view of woman. Yours Vincent Shaw Flack, subscriber
That in fact is great to read, Vincent, and thank you so much also for your support!
Hi Wim, the adagio sounds like an adagio, great sensitive playing. Wonderful sonata. I will be playing this sonata for "Artsen zonder Grenzen" in the coming months. thx for uploading the great music of Mozart.
Thanks Alex and much pleasure in sharing these works of beauty!
Very good. It was a great pleasure to hear this interpretation this afternoon. Thank you for sharing!
Thanks!
At this speed Mozart's work it's astonishing. Thank you Wim without your interpretation I've never seen the amazing genius Mozart is. I mean I now he was a genius but a this tempo the sense it's completely different. Thanks again. Gretings.
Stupid question: Did this sonata have to be transposed, if that’s the word, for the limited range of this keyboard, or was it written for the clavichord?
No. It's not transposed. This clavichord has as many keys as a fortepiano (piano from Mozart's time).
Could you play this in the piano forte plz ?
I didn't know clavicords had the ability to have dynamic range? Is that a piano forte? Thanks for the awesomeness!
Good clavichords have a very large dynamic range almost similar to that of an early pianoforte, but with the extra of constant finger contact with the string which gives a micro-dynamic that you will notice, not actively hear, but makes the whole super flexible
Hi Wim, would it be possible to release Authentic Tempo Reference Guide for most popular music from Baroque to Romantic period, or it is too much work?
It will be one of the things I'll be working on the coming months, you'll hear about this on the channel (or the mailing list, that's an easy way to be informed)
Bravissimo! This sounds so clear, even the reverb sounds good. Well performed. Thank you for this timeless gem.
Thanks for listening
Thank you for the recording!
One small thing: in the description, in the part about Moscheles; there is written "Beethove" but I'm pretty sure it should be "Beethoven".
Not to be annoying, just to help :)
Absolutely beautiful... Such a lovely sound! And played with perfection, in my opinion. The interpretation is so artistic yet played with good taste. Listening to this I can imagine sitting in a salon from that time. I'm surprised how expressively that instrument can be played.
Great to read, thanks!
Very nicely done.
thanks John!
I love it! That tempo fits the piece very well. Espacially the second movement is really delicious like that! Tanks a lot!
Thanks Johannes!
I have a practice of this 3rd movement. You add ornamentations in some parts. That's nice , I think.
We can observe how you play. That's super helpful.
I'm working on this sonata right now, and your video here has just given me a whole new level of insight and inspiration - thank you! This tempo and tambre are stunning.
The musical execution here is truly excellent and opens new perspectives to the piece (what is the significance of this or that note or phrase...). I know too little about historical "tempo correctness" - the Moscheles tempi in their "modern" interpretation seem (still?) just so right to me (as eg Bezuidenhout chooses them) - for discussing this point in general. The more I listen however, the more I feel something is missing. I guess they are actually three things which all relate to the tempo as well: 1) "legato cantabile" feeling at the second movement: The phrases seem a bit disrupted and it's quite difficult to perceive a longer phrase as a whole (but still possible because of the great "putting every single note to its designated musical place" what makes it interesting). 2) Rhythmic and dance-like feeling, especially in the 1st and 3rd movement. 3) Witty and humorous feeling. I don't know, it just feels all very serious and "romantic" and as though you try to put in more solemnity in quite "simple" music than there actually is. A thought I had while writing this was: "You could never apply this tempo approach to Mozart's chamber music!" Imagine a "half tempo" (for contemporary ears) string quartet. But on the other hand, it seems that Mozart writes in a different, often more intimate "style" for pianoforte solo than for other groups of instruments... Anyway, it's an impressing work you do, I'm eager for trying other tempi as well!
Am learning this sonata, and, while I'm still unsure exactly how much I agree with all of the tempo stuff, the last movement certainly sounds better at a tempo closer to yours than to, say, Gulda's (whose performance I love, otherwise). Personally I still take it a touch faster, but the feel is the same, as far as I can tell :P.
EDIT: Might also say that the slow movement sounds perfectly natural at this tempo. I think it's about the same as mine, anyway, for what it's worth :P
Beautiful playing
👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
Das ist wirklich schön. Vielen Dank.
My favorite sonata. So beautiful on the clavichord, my god! Simply brilliant performance. Thanks a lot Wim
Intense! Fun to listen to Wim's interpretations and get some music education too. All free. Thanks for sharing.
Bravo, bravo! This is one of my favorite pieces by Mozart.
Theres a lot more sense in this tempo, but I think that this piece would work better in your other instruments.
How did I miss this? One of the finest of your recordings. Thank you so much!
I really love your interpretation.Thanks.
Thanks!
Wonderful. Thank you so much!!!
thanks for listening!
Wait is this reallt the 100somerhing take of this recording?
Thank yu Wim!
Marvelous as always!
I'm hearing this sonata as tuned down by a semitone (played in E major, second movement in A major).
Is it just my imagination? If not, Could you please explain why you chose this tuning?
As always, thanks for music that opens the ears and the heart.
Thanks Uri, nothing wrong with your ears, the clav is at a'=408
Very beautiful! Loved the ornaments in the 3rd movment.
Thank you, Wim!
Glad you enjoyed it!
I LOVE this sonata and I have always played It at a higher speed. My impression has been always that you lose a lot of details hidden in the movement when you play it quickly and makes it difficult to play when we would think this sonata is"easy" and in fact It is not so.
Indeed!
Awesome! :)
Thanks!
I found it ..... Lovely! Bravo
What is the grade of this piece ?
So wonderfully elegant! Thank you for the pleasure of listening.
Thanks for listening
Outstanding interpretation
Buon Anno a Lei e famiglia.
I love your tempos, they really show a new character very for all recordings.
Great to read, thanks!
bravo！
💞💞💞💞