W.A.Mozart :: Sonata in C Major, KV 279 :: Wim Winters, clavichord
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- เผยแพร่เมื่อ 16 ก.ย. 2024
- W.A.Mozart :: Sonata in C Major, KV 279 :: Wim Winters, clavichord
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This is the first of a row of six brilliant sonata's, Mozart wrote during his stay in Munich (early 1775). The 5th sonata (G major) was soon to become the most played of the six, but in my view, all six are outstanding pieces. Little is known about the instrument he had in mind at those days. It is an interesting topic though, since Mozart would only meet the pianoforte builder Stein in 1777 and have his own pianoforte not sooner than 1882. Bottom line is in my opinion, that this 18th century music is to be considered as "keyboard" music, possible to play on all kind of keyboard instruments. Which is interesting, because the interaction between the choice of keyboard and the music, gives every time a different output.
Audio files can be downloaded on www.authenticsound.be
Upload date: 16.02.2014
You capture not only how joyful, elegant, and precise Mozart's writing is, but most importantly I think, that haunting quality that can make a Mozart performance truly of another dimension. Bravo to the Infinite Power, thank you so much for all you do!
I don't know, what's Mozart's tempo of this great sonata in original was, but I think, your tempo is the "tempo guisto". Mozart was always not a friend of the fast tempi (he wrote this in a letter to his father). The tempi is near the tempi, which Czerny have had given (his metronom marks are mostly somewhat slower, but not much). The todays tempi are (by my meaning) mostly much to fast.
By your tempi the music have the chance to "go to heart" not only "to ears".
And your wonderful instruments sounds realy good - it sings. Your tempi gives the player, the instrument AND the hearer the possibility to feel all the fine details in Mozart's music.
So I allow me to say: this is real "Authentic Sound".
Thanks a lot for this performance.
Thank you very much for your response. It is so important to me that music can be understood, and the listener (and player) gets time to indeed "feel" all the connections. Your comment touches me, it goes to the heart of what I strive for.
AuthenticSound Hi Wim,
you make an interesting point, but in my opinion if you want to make the listener"feel" all connections it is not necessarily a must to choose somewhat slower tempos. But beside this general statement of mine is your performance of this sonata really beautiful. You are singing all the time, with a very natural breathing - I love it. The freedom you take for the main theme of the first movement strike me really, an amazing rendition to this often underestimated sonata. Thanks a lot.
Cheers
Jan
Hi,
a perhaps somewhat unexpected reply to this nice quote you were so kind to leave on my channel. The reason is this: I am working on the production of 3 CD's to celebrate my music recording n°100 for Authentic Sound on TH-cam. Along with that, will be published an e-book (available in hard copy too), where I very much would like to feature you, with this beautiful quote.
Like this, this publication will become something of the entire "community" so to say, something that would be a wonderful and maybe somewhat symbolic achievement of all of us. Without reactions and interactions like yours, I would never have had the energy to come where we are now...
So thank you again for being part of this.
Please do not hesitate to write me if you prefer not to be featured in the book with this quote. Of course, that would be no problem to me (although I'd like to have it very much :-) ).
In case you haven't seen the latest update on this project that should be released December 1, 2016, here is the latest update link:
th-cam.com/video/MF2XkNrGF0A/w-d-xo.html
Take care and thank you again!
Wim
P.S. I would like to excuse me in advance in case you would receive this same message again for another reply on another video... or if you have sent in a personal note for this project. I will connect all of these at the end... but for now, it is so overwhelming to go through all the reactions, that it is impossible for me to remember who I already has asked permission...
I can't imagine it having sounded this good since 1791. This is the recording for me and unless I am fortunate enough to get to heaven and meet WAM at a keyboard I doubt I will hear better. I have to keep listening to the Wim Winters recordings again and again and am always taken on a transport of delight. Thank you a thousand times over.
Quick question: I'd like to use this (and maybe some other) quotes you kindly wrote for the book that will go along the celebration CD's,. Is that ok with you (please say yes :-) )
You probably have seen some of the footage around this project. If not, here is the latest update :
th-cam.com/video/MF2XkNrGF0A/w-d-xo.html
all best wishes (and thank you)
Wim
@@AuthenticSound seems it is a semitone lower as a heard it,
Especially early videos of yours gives me impression of personally visiting your practice and playing sessions in person, late in night. It is a really intriguing experience, I must say.
Allegro - 0:14
Andante - 7:17
Allegro - 12:44
Another beautiful performance. I'm running out of superlatives to describe these wonderful videos.
:-)
Absolutely phenomenal
Thanks for sharing. I love this Mozart's sonata. It is very well played. I liked your way of performing.
I like how this contrast to when i heard this played on Robert Levin's Pianoforte album with this same sonata. althought this is slower and more intimate with the clavichord.
Bravo!! Fantastic perfomance!
Thanks, Marius (way to late, but better late than never!)
Please do Kv 522, would be fantastic.
I play this sonata all the time and feel almost embarrassed! All of your arguments are rightly vindicated primarily because of the instruments used in your videos. Mozart composed on the clavichord therefore this sound and tempi make perfect sense especially for his sonati. I’m so glad I discovered your channel. Thank you for your generosity and knowledge
Thank you for the lovely words!
Beautiful. I have to learn this on my clav.
SparrowThe Thanks! Glad you liked it, and yes, this music sounds wonderful on clavichord.
AuthenticSound Your wonderful performance helps too :)
Very good!! The inicial sonatas from Mozart have a wonderfull sound on this instrument.
Sorry for my bad English, im from Brazil.
+Ian Pianist Thanks for writing me your reaction, it means a lot! The six München sonatas are indeed works of a real genius, I believe they are a bit underestimated, and sound well on clavichord as in fact -I think- all his keyboard music does. He owned several clavichords and his main instrument was made by Friederici, the inspirator for my instrument.
Greetings from Belgium, a long way from Brazil !
where can I buy a fortepiano?
😊
I love how it sounds on a clavichord. You are a very passionate player.
Do you have a pianoforte?
Thank you for listening to one of the first recordings of this channel...! A pianoforte is being built now by Potvlieghe, copy of a Frits 1816, will be finishes early 2017. A video on that project is coming soon, there are several older ones, but the time comes for an update.
Wow, congratulations! One of my dreams is to be the owner of a pianoforte!
I love the sound of this instruments, as well I love the modern pianos.
Wich is your favorite composer, sir? Again, greetings from Colombia, and nice job.
Is Clavichord the instrument Mozart composed this (and other) Sonatas for? Or is it a Fortepiano? I know Mozart owned both instruments, but I read he switched to the latter at some point (which exactly?) Thanks :)
Hi Andrea, and good question! Mozart is quite problematic in his instrument choice and I believe much need to be researched, since he only in 1782 acquired a pianoforte. But even after that date, the instruments he knew stayed in his life (of course). A well-built clavichord (as he had Friederici, one of the best clavichord makers ever), must have served him well with a fully balanced touch, expression etc. The early pianofortes gave some power (not very much) but lost the finesses of the clavichord. So it is not an 'or - or' but 'and and'. It is the luxury of our time that we can choose and give new life to that music with every choice of instrument. So, historically speaking, the clavichord for Mozart is always a """""""""correct""""""""" choice, the pianoforte for sure for his later works. But I do not let my sleep for it :-) !
Gasp! My K279 tempo is *slower* than yours! Should I speed up to race through this sonata as quick as you :-)? I think this one in particular sounds as good on my modern piano as on your clav.
never mind someone else's tempo if you feel yours is right! This is an 'older' recording, should listen what tempo I took, I rerecorded them all 6 later, paying more attention also to the given MM by Czerny/Moscheles and notation. Just search for Munich sonatas Mozart, they're easy to find on my channel
AuthenticSound where did Czerny give mm for piano sonatas?
I disagree with pretty much all your tempo choices. But this one I really like. Not just the tempo, but the pauses and flexible pulse.
Well... work to do than, might be the first step into a new universe! Btw: the Beethoven tempi are not mine, they're Czerny's
@@AuthenticSound it was meant to sound like more of a compliment than it came across!
stop ruining the music please
don't conduct when there is no orchestra. lol
That goes automatic. it has to do with a kind of circular feel/movement, that is kind of getting concrete by such conducting movements. It feels really as conducting, although I sometimes only see afterwards that I was indeed conducting. I talked on that in the first live session we did last week on CPEBach (and on timing): th-cam.com/video/-PbUeUfS7Lw/w-d-xo.html
I was joking of course... I know several pianists do it sometimes. Yours caught the eye a little too often though. Personally, I remain absolutely stationary. Quite boring I suppose.
If it sounds well...it isn't boring, in either cases !
I'm not professional or nearly as good as you. But I am a strong proponent of improvisation in Mozart's works. Robert Levine's lecture opened my eyes. Mozart should be played as Mozart played it. I have been trying to fill in long passages wherever I see a fermata or a melody that is spaced enough to accommodate passagework.
I wish you would do more of those and not just the ornamentation and flurries, which even though are wonderful by themselves, makes me want more.
I have realized it is incredibly more difficult to just do what Mozart used to do than 20th century atonal improvisation.
Of course it's more difficult to do what Mozart does. Even the other composers from "Perfect music" era. But, I don't get what do you mean at your comment sire? Sorry.