The writing is almost quartet-like, especially in the first movement. Second movement reminds me a lot of CPE Bach, and I can hear some parts of it played on clavichord. Too bad it's one of the least-played sonatas.
This sonata is the “strangest” one out of all of them to me. It’s like he was really trying to do something different from the other piano sonatas. Super chill, understated piece of music.
It doesn't get any better than Mme. Haebler playing Mozart. She has remained my favourite. Oh, I assume maybe the couple of people talking about this Sonata resembling Bach, maybe it has to do with her way of playing rather than with the "music" itself. Either that or you really should go and listen to a lot more Mozart AND a lot more Bach, because this is Mozart being Mozart. Bach didn't invent counterpoint. Counterpoint didn't die with Bach. Simple.
After listening to Mozart’s piano works so many years and trying my best to study them a little bit, it amazes me even more when reading the music sheets while listening to, sometimes moved me to tears because they look like something natural. Hence there is a deceptive “facile” in perhaps all of them and can lure a beginner to give it a try. But the true Mozartian quality such as presented here, that’s like some mysterious creature, so rare and so beautiful, almost impossible to capture.
it is very difficult to play, this is proved by how rarely a perfect performance of this sonata is possible (I do not know this yet). in this recording, the articulation is sluggish. I do not think that Mozart can be successfully performed without turning to the Baroque "technique"
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Klaviersonate im lebhaften Tempo mit klarem doch elegantem Anschlag und mit sorgfältig kontrollierter Dynamik. Bestimmt eine der zehn besten Pianistinen im 20. Jahrhundert!
I've decided that I play this sonata wrong! Yes, I can play the notes but I realise that I lack the finesse of expression that Ingrid Haebler brings to it. Thank you for this insight.
I am always amazed how reading along enhances the listening pleasure for me. So much expression on such rather simple, notes. And Ingrid Haebler's touch is indeed exceptional ! Thank you for turning the pages for us ;o)
@@Vukf1 it's not hard. If you can tell on which step of a 12-step staircase a tennis ball is placed, you can read music. I wish you all the best--try and see! :-)
Thanks Bartje, now I knew Ingrid Haebler though your videos. Her interpretation and tempo are so comfortable, whcih give enough space and time on the exploring the expression. Really enjoying it.
Great performance! What I particularly love about this sonata is the nice quiet ending, which left me in a peaceful state of wellbeing... I do not like some of those loud endings that follow immediately after relaxing quiet passages.
16:20 I love Ingrid's pacing in this section - so poetic! However, Perlemuter applies more forward movement in the Andante which also works well. He goes for a more severe approach to the middle section that is very effective.
Это блеск ,Моцарт сияет в каждой ноте ,звуке ! Совершенно потрясающая музыка. Исполнение Ингрид вышe всяких похвал ,оно хрустальное и возвышенное! Thank you for this Luxurious and unrivaled piece of Lovely Mozart . Ingrid is great!
I don't get all the shock and surprise. Musically, there is nothing Mozart couldn't do if he was interested in trying. That said, his contrapuntal writing does not surpass that of J.S. Bach - but then nor does anyone for that matter. There is no "Bach" in his work. This is pure Mozart. It's simply an homage given his late exposure to Bach's work.
How are you doing with your piano? Is wonderful to grasp the genius, always remain something in our nails You will do it, I’m studying also and the process is difficult and wonderful
I'm not sure but is this the influence of Bach in Mozart's late work everyone is talking about? I think it's wonderful, I don't know why Gould said Mozart had died to late.
In an April 10, 1782 letter to his father, Leopold, Mozart wrote, “I go to the house of Baron Van Suiten [sic] every Sunday at 10 o’clock and nothing is played there but Händel and Bach. I am making a collection of Bach’s fugues, those of Sebastian as well as Emanuel and Friedman [sic].-Also of Händel’s, and I don’t have those. I expect that you know that the ‘English Bach’ is dead? What a loss to the musical world!” He was fascinated with Bach and it is said the only compositorial crisis Mozart faced was when he discovered the genius of Bach. That crisis lasted about 3 days... lol
Baroque Rococo Classical all have a strong family resemblance one evolving from the other. Later Mozart led the Classical which ' sounds like' all if the above.
Because Gould projected his own issues onto Mozart. Who cares anyway, it's just one pianist, and one who was a specialist in essentially only one area, or even more specifically, one composer.
mme. Ingrid Haebler gives this piece the Viennese touch, if it needs it or not. I mean she couldn't help doing this. Other Viennese Tastenkoenige: Gulda, Badura-Skoda, and the other guy that lives in London , the Schubert player what's his name. Yes an unusual sort of piano sonata from Mozart. I myself practiced playing it for a while.
La constructividad mozartiana es evidente en este especial sonata digamos y por tanto es una sonata innovadora a pesar de componerse bajo esquemas clásicos tradicionales de la Viena musical del siglo XVIII
Mozart was able to write anything from light to complex, from lyrical to dramatic, from sensual to abstract. No one had told him yet that a genius is “such a romantic outcast”, necessarily writing for eternity and always only serious things 😒
Hay dos pasajes muy emocionantes que no paro de repetir y escuchar el 2:15 esa emocionante serpentina refleja indiscutiblemente una pasión, emoción del genio salzburgués que quiere expresar afecto,romanticismo y el 2:35 esas gotas de pasión que encogen un corazón humano,cuanto me recuerda al genio de Bonn joven en su periodo clásico donde trabaja con esquemas clásicos con descarados goteos de emociones y pasión pero el joven Ludwig tenía la colosal labor de evolucionar desde la tradición Vienesa al romanticismo más ferviente o sea el único con carácter de Evolución aunque por supuesto no dudemos que si el genio de Salzburgo hubiese vivido hasta la vejez claro que hubiera evolucionado su inimitable arte perfecto y puro como el sólo al Romanticismo naciente y hubiese sido digamos una competición muy interesante, un duelo entre los 2 colosos musicales por el desarrollo romántico musical a saber que hubiera pasado pero el destino quiso que el titán de Bonn se quedara sólo y se emancipase con su inmenso arte hasta llegar a donde todos los melómanos sabemos
It doesn't sound like Mozart, and that's why is one of my favorite sonatas so far. Has a lot of dissonance and dialogue, and it sounds like a string quartet. It sounds a little like Bach, but I don't think that much
Of course it sounds like Mozart, check out his works, if you have the time start at K.1 all the way up to K.600+ will take you some time, but they are all on RU-vid, and you will be in shock how diverse he is.
I've had to pay the first page for 5 months cos I couldn't finish the piece since I had a concert and my exam! I can't play the piece well cos of that so just sket frustrated
@@FirstGentleman1 I have a book for Mozart sonatas, the order in which they're titled is all messed up, they show the sheet music of sonata no 17 where it's titled 15 bruh
@@Trooman20 depends on the catalogue version I think. Some spurious attribution have been revised (for example, his 16th Sonata K545 used to be numbered 15)
@@FirstGentleman1 No. 18 is definitely the hardest (hardest Mozart's keyboard work, in fact) if you look at it only technically. But No. 14, if you include the preceding Fantasia, is going to be most exhausting.
You can tell this is a women playing by the delicacy of tone and softness by which she plays. Very delicate fortes too. Mozart to me is quite a femine composer too, his compositions are often soft, playful and child-like, so it’s quite a good match.
You couldn’t be more wronger about Mozart and also Madam Haebler. Mozart is anything but softness. We are talking about the greatest master of music ever lived.
That's hot take if there is any. People play him soft and weak because he had to write "easy listening" for nobles. He was an extravert, but of the "smooth communicator" type rather than outright fire. Having a dad trained in jurisprudence(to basically not be as taken advantage of) did get passed down to his son's music.
I'm not too familiar with that work, but I know Beethoven had written it in his youth, I think around the time he had written his 3rd and 4th sonatas. In this period, Mozart's influence on the music of Beethoven was apparent
@@newton1372 so you want Mozart to be adhering to what YOU think he should be? Doesn't work. It is a typical 21st Century mindset. Mozart's "weakest" compositions, if they even exist, are still Universes in which we float around like particles and atoms.
@@bartjebartmans I appreciate a bit more the interpretation of that passage made by Mitsucho Uchida. Actually, it consists in thirds bichords in parallel motion repeated almost the same for 10 bars, and that is not a fault of the pianist, i think.
This was when M could write pieces in his sleep. Second nature. This piece is so obviously written for the commercial sheet music market. He knew people would only learn the first 24 bars or so and nothing overly complex with left hand/right hand coordination. This has always sounded to me like "I am a composer and it's how I earn a living". An easy confident expertise. The showdown with Clementi really made an impression on him. He approached piano music in a different way.
I don't know what you're talking about. This sonata is his most contrapuntal and chromatic one. Compare that to the following sonatas which are made for students. I would go as far as to say that this is his third-best sonata after K. 457 and K. 310
