Discussion in 'Submission Room' started by Vladimir Oppenheim, Jun 21, 2016.
I am glad to share with you my recording of Mozart's sonata. Thank you for listening.
I can't say I'm much of a Mozartean, but I'll try to give brief impressions.
First movement: clean and articulate. Nicely bubbly in places, and I heard very little in the way of smudged pedalling. One thing though: what on earth happened at 1.55? It was as if the microphone changed position. I'm fairly sure it's still the same piano and you haven't crosscut two different recordings, but it's as if something completely fundamental changed with the sound.
Second movement: nicely introverted - you managed the neat trick of making major key writing sound quite plaintive. You must be comfortable with the piano, as things like those l.h. repeated notes can easily get a little messy if you're not.
Third movement: sonic characteristics seemed to change again.. the bass arpeggio at 0.13 was most peculiar. Again, good r..h. passagework.
I hope someone else will comment, as this is well outside my repertoire comfort zone!
Thanks for your comments!
I didn't play a lot of Mozart either, but the more I play it, the more challenging it looks to me. This recordeng was done approximately 1 year ago, so I don't remember exactly what has caused such an impact on sound at 1:55. It could have been a point where I cancelled "normalization", - an editing feature that makes sound more even, but takes away some originality & freshness of the sound, its overtones...
I am trying not to use equalization or any other effects that change the original sound, but some noise reduction, I believe is necessary.
Another Mozart's piece I love is Piano Concerto No 27. What a music! Rendition of Emil Gilels is outstanding, I think.
Thanks again, Andrew.
You take the tempo of the first movement at a pace that brings the music out in a
sweet and pleasant manner.
The second movement is also played at a pace that befits the melody.
The phrasing is excellent.
The third movement has the same excellent qualities as the others.
The phrasing, dynamics, pacing, articulation of staccato and
mood are all appropriate. You also have a talent for reaching the peak
of a phrase in a very musical way.
My suggestion is to strive to play with a "glowing" tone throughout.
Thank you for sharing such a well thought out, and musically natural performance.
I am glad you like the playing; thanks for giving me the feedback.
I fell in love with this sonata after listening to Horowitz's recording and the more I listen to Mozart the more I realize how much warmth is in his music, even artlessness. Maybe transition from Classical to Romantic period in music ( obviously the clear distinction can not be drawn ) begins not from Beethoven, but Mozart. Some musicians tend to play his music a bit "dry", but I think his music has the magic that best conveyed if we are not restricted by "rules of style" so to speak.
Your analysis is very plausible and so well said.
I agree with everything you just wrote about Mozart
and have never read or heard such a completely
logical reassessment concerning the shift from classical to romantic.
Have a great day,
It's so nice to know that we agree...Some time I think that right words help us to better interpret the music, but maybe the music itself feeds our minds and hearts with "right words", even shapes our personality. I am delighted to hear such reassuring words from you,- a colleague pianist.
Have a wonderful day
I listened to the first movement. I really liked how cleanly you played the piece, with nice articulation and a delicate touch.
the only thing I noticed was at around 1:10 and 1:16 - 1:20, the eighth notes seem a bit rushed
I know very well this sonata. I used to play it by heart some 25 years ago or so. Yesterday I listened your rendition while travelling by train. I enjoyed it a lot. Perhaps I would advocate for a slightly more stable tempo, but I have seen your point about romantism in Mozart, and I do the same - twisting the tempo in some pieces usually played very straightforward - e.g. in Couperin, which cannot be considered as a romantic, though...
I noticed only one reading mistake: in the second movement, at the end of the Fminor section, you remove one beat in a measure (at 2'44"). In case you would like to play it in a future concert...
All the best,
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