That's fascinating. What impresses me is that the cleverness doesn't advertise itself. Listening to it, the development flows beautifully and sounds completely natural.
ABSOLUTELY fascinating analysis! Had I had the good fortune of such a teacher as yourself 50 years ago who could explain things so marvelously succinct! ♥♥♥♥ Thank you, sir!
Listening to the 20-bar development section of the 1st movement of K. 284 (Summer 1777) in D-major one is reminded of the kind of ‘warm up fantasias’ that M. would improvise at his Klavier after playing a long series of ‘accordi semplici’ (‘plain chords’) possibly to establish in his subconscious ‘friendly neighbours’ to e.g. D-Major - we notice this type of rapid & often surprising/startling modulations in his fantasies especially ‘a Fantasia (= a toccata or passacaglia) to test out a new klavier’ in C/major (tho’ it doesn’t stay there long !) that M. wrote out in Nov/Dec 1777 after testing Stein’s new ‘escapement mechanism’ which moves around chromatically & diatonically with a stunning sense of ease & naturalness - these ‘streams of musical consciousness’ make us sad that M. did not later write many of these impromptu’s down on paper - if he did we would have at least 100 of them to add to the ever-expanding Koechel Catalogue …
Just Brilliant! Thank you so much Gareth. Being aware of what's going on beneath the surface gives me added appreciation for this gorgeous piece, and I think, brings us even closer to Mozart.
Gareth I love your music matters upload. normally youtube music theory channels can be quite dry but these are thoroughly entertaining. you get across a lot of music theory that is more complex than most channels and go into a lot of detail (unlike david bennett piano who covers things quite surface level). thanks 😀
I enjoyed the treatment you gave to Sonata Pathetique and the Prelude and Fugue in f# minor. If you give the same treatment to k. 333, I will pay for that.
What a showoff by Mozart: the chromatic hint at another key that first do not realize and later do, the VI chord that actually was a N6. So many details in the construction ... amazing. Thanks for decoding it for us!
I suppose it depends on how you define genius. He’s certainly a gifted, inspired, imaginative composer who writes especially beautifully for the piano.
A suggestion: could you perhaps put the chord progressions that you went over on the sheet? Either way, great analysis and explanation. These are the video's I love to see!
The development section of this particular Mozart sonata reminds me of Haydn's developments in his piano sonatas. I'd like to see an analysis video of a Haydn sonata form movement and how his style relates to and also differs from Mozart.
What a great video as usual. I wonder if you accept requests? If so, would you like to cover some French composers such as Lully, Rameau, or others. Generally speaking, there is some stuff that makes a music sound French -you know what I mean.. especially baroque composers since French baroque music sounds extravagantly lavish 😆 I always feel there are the French things, maybe the progressions, accidentals, or ornamentations, but I couldn't tell what it is. Nevertheless, I always look up for your new videos
I thought you would discuss those unprepared dissonances in the first 8 bars of the development. I find it quite tricky, when I try to play the section I nearly always trip up somewhere.
What kind of piano would of Mozart had? I would've thought his piano would've only gone down to the F two octaves below middle c. However he writes an A at the end of the exposition which is a whole 6th lower or would it have been the top range which was cut because he would've only had 66 keys instead of 88.
I wonder if you have anything to say about english or german lute composers and pedagogues, esp. since you do music appreciation videos, because in the English world as I know it, society is not as familiar with them as the general baroque composers like Bach, or in this case the classical composer Mozart, and thus as an amateur, I do not know if they made any lasting contributions.
@@MusicMattersGB Thank you. In that case let me add I was thinking about how a jazz guitarists mght find commonality with the lute composers and pedagogues, although I know heavy metal guitarists already study classical guitar.
Hi! I'm confused. RU-vid tells me this video was published 5 minutes ago, yet it has comments which were left 2-3 weeks ago 🤔 was it first released with limited access (by link) and today you made it open to everyone?
Mozart wasn't exactly Haydn or Beethoven when he had to face development section, at least in first movement of piano sonatas and symphonies. Things changes when he uses Sonata and Rondo-Sonata form for the last movement, specially on chamber music. The fugato development seems to attract him a lot plus the wise combination of alternating homophonic and polyphonic textures. But for the first movement I believe that he reserves the big expansive sonata form for the piano concertos.
