Thanks for interpreting the movement of how Mozart actually wrote the piece! I found many other recordings to be devoid of the shift in loudness of sounds in this movement, with over-the-top pedal performances. I have to say I liked your interpretation probably the most.
Two significant things come to mind: My tempo on fortepiano is significantly quicker as the instrument speaks so clearly and is overall more responsive. My performance on a modern instrument is often bogged down by things like sympathetic resonance among the strings and the weight of the keys (much heavier on a modern piano). Whereas on the modern piano I have to voice heavily toward the soprano, I find myself unabashedly playing full harmonies and taking advantage of sudden dynamic shifts on the fortepiano, especially since the decay is immediate. When there is an accompaniment like the beginning of this movement, I don't lighten the left hand in any way, since it inherently doesn't overwhelm the right hand. On a modern piano, voicing is unquestionably necessary. More specific examples could range from the highly expressive, syntactic articulations, which are rendered moot on the piano, to the opportunity to engage the moderator, a knee lever that layers a piece of felt between the hammers and strings and allows me to play with a magically soft sound completely unlike an una corda. At the fortepiano, every articulation suggests breath, clarifies rubato or musical grammar, and gives the phrase meaning. Oddly enough, sometimes you will hear rather fast tempos of Mozart on modern instruments, but they ubiquitously blow by articulations markings. That's just scratching the surface! Thanks for asking.
I tend to avoid recordings of Mozart’s keyboard music like the plague because of the thousands of uninspired and bland performances I had to suffer through, but this is genuinely good. Good job! There still isn’t a reference recording of the complete Mozart sonatas since Levin decided to abandon his project. I find Bezuidenhout a little bit "mannered” so to speak and Bilson’s set somewhat lacking in technique and vigour.
A very fine interpretation of the sonata! You are very talented, thank you for sharing.
So kind of you - thanks!
Thanks for interpreting the movement of how Mozart actually wrote the piece! I found many other recordings to be devoid of the shift in loudness of sounds in this movement, with over-the-top pedal performances. I have to say I liked your interpretation probably the most.
Pretty good playing my friend 👍
Thanks for much for lending an ear!
Shush, it was great, you can’t do any better I bet you can only play the Moonlight Sonata Hahaha Hahaha HHahaa, HHahaa, Hahaha!
How do you think this fortepiano changed your interpretation?
Two significant things come to mind:
My tempo on fortepiano is significantly quicker as the instrument speaks so clearly and is overall more responsive. My performance on a modern instrument is often bogged down by things like sympathetic resonance among the strings and the weight of the keys (much heavier on a modern piano).
Whereas on the modern piano I have to voice heavily toward the soprano, I find myself unabashedly playing full harmonies and taking advantage of sudden dynamic shifts on the fortepiano, especially since the decay is immediate. When there is an accompaniment like the beginning of this movement, I don't lighten the left hand in any way, since it inherently doesn't overwhelm the right hand. On a modern piano, voicing is unquestionably necessary.
More specific examples could range from the highly expressive, syntactic articulations, which are rendered moot on the piano, to the opportunity to engage the moderator, a knee lever that layers a piece of felt between the hammers and strings and allows me to play with a magically soft sound completely unlike an una corda. At the fortepiano, every articulation suggests breath, clarifies rubato or musical grammar, and gives the phrase meaning. Oddly enough, sometimes you will hear rather fast tempos of Mozart on modern instruments, but they ubiquitously blow by articulations markings.
That's just scratching the surface! Thanks for asking.
Beautiful as always! :)
Super kind of you to say. Cheers!
Phenomenal
Wish u would record more Mozart sonatas
I suspect the great man himself would have approved of this spirited, fine rendition of his masterpiece. Bravo!
Excellent and slightly hidden use of staccato. perfect. you ought to get yourself a good recording mic
I love the sound of the piano forte. Nice perfomance. Temperamento but balanced at the same time.
I loved it! claps!
Thank you!!
I tend to avoid recordings of Mozart’s keyboard music like the plague because of the thousands of uninspired and bland performances I had to suffer through, but this is genuinely good. Good job! There still isn’t a reference recording of the complete Mozart sonatas since Levin decided to abandon his project. I find Bezuidenhout a little bit "mannered” so to speak and Bilson’s set somewhat lacking in technique and vigour.
Now that Levin released his complete recordings of Mozart's sonatas and fragments last year, what do you think of it?
Nice shirt.
Too many notes...
Disagree! Could use a few more
@@davidbelkovski i think you missed the joke there. "too many notes" is a phrase said by the emperor to mozart in the famous film
Excellent playing. A joy to listen to.
Thank you so much!! I’m very happy to know you enjoyed it