Mozart Sonata in D Major K576 -- just 2nd movement

[thalberg]

Hi all---

Another recording.  Mozart this time:)

[quantum]

The person who sent you this file has exceeded their download limit

Can you please upload it again.  I want to listen 

[thalberg]

Thanks for wanting to listen

But I just uploaded it.   I'm sorry I don't know how to rectify this.  Someone needs to show me how to convert things to mp3.

[thalberg]

Okay I converted it to mp3---figured it out all by me onesy.

[furtwaengler]

Hello Thalberg. I absolutely adore this sonata, my favorite of all Mozart's sonatas, and you play this movement with such sensitivity. Could you upload the surrounding movements? It'd make me happy  

[daniloperusina]

It flows as naturally as water in a stream! My only complaint is that it's almost underplayed, for example the crescendo at 5:18-5:21, which sounds a bit hesitant, and sometimes the timings, like the last chord, which you could have delayed just a fraction more and played a notch softer. The dynamics and colour of each note is almost too similar throughout. I have to say almost, because you're doing a very delicate balancing act here.

On the whole, though, this is a performance to which one just have to sit back, relax and enjoy! Very beautiful!

[teresa_b]

Hi thal,

This is lovely!  Mozart is my favorite composer, and you play this with great finesse and beauty.  I tend to agree with the above post, in that you might make (slightly!) more out of crescendoes, and even do a little more "Mozart-type" rubato--always steady with the accompaniment, but a little agogic shift here and there in the melody line. 

And those comments are extremely nit-picky!  Just play it from your heart--it is wonderful.
Teresa

[thalberg]

Hello Thalberg. I absolutely adore this sonata, my favorite of all Mozart's sonatas, and you play this movement with such sensitivity. Could you upload the surrounding movements? It'd make me happy  

Okay.......you really want them? I recorded this sonata in a session a WEEK after the recital and I hadn't practiced, so the outer movements have this strained quality....they're missing the lightness and agility they need....but if you want them, I'll post them....still interested?

[furtwaengler]

^Sure...we're all friends

[quantum]

Very pretty.  I also like the flexibility you give to the melodic line. 

In bar 7 - 8 is there any reason why you make a hesitation between the two B's, when the phrase ends on the A of bar 8?  Also same thing from bars 42 - 43 why the hesitation between the two A's? 

This is getting very fussy but I would have liked a breath in bar 8 and similar, between the end of the phrase and the pick up of the LH. 

You're offering the other movements too I see.  I'd like to hear as well 

[zheer]

   Very well played.

[pianistimo]

i liked the lightness and contemplative feel of this.  even if the crescendos are slightly needed more - the overall feel of this is light and pleasant. 

[thalberg]

Okay.....a couple of you asked for this.  I normally would not give it because this recording session came at a time when I was out of practice--so this really isn't "me" but it's all I have of the outer movements.  Here you go....

EDIT 7/10/07: I have removed these movements because, as I said, I was out of practice when I recorded them.  I'm hoping the people who requested them such as Furtwaengler were able to download them.  If not, contact me and I will send them some other way.

[electrodoc]

Mvts 1 & 3

Both very enjoyable. Good finger work with clear crisp articulation. Good dynamic control and interpretation.

I especially enjoyed that you took the first mvt slightly slower than is often heard on recordings of this work. This seemed to bring out the part playing to greater effect.

The 3rd movt left me in some awe at the rapidity of the triplet runs. A very enjoyable performance.

No need to apologise for these posts - excellent playing of professional standard.

Thank you

[mikey6]

Ah Mozart! So much to say and be done with    I learnt this about 2 years ago, tis pretty tough.
1st movt.
The opening, can you give it some weight, it's pompous Dmaj, sounds a bit shy, like it's creeping up on someone.  Lead the first a into the d and then move through the line. 
I love how he gives 3 completely contrasting characters in the first 4 bars - pompous unison, trills for comedy and then the tender melodic falling line.  Have you tried starting on the upper note for the trills?  Maybe it's what I'm used to, but you're losing time and it sounds like your choking, not laughing (sorry ).  Can you support the trills more with the bass line.  Also watch the a's in bar 2, rhythm is not completely settled.
Can you change sound for the last part of the opening phrase? It sounds to high energy to me.
bar 7 Rh can you decresc according to harmony.
bar 9 shape the RH through the turns of the passage (again according to harmony)
bar 12 LH melody goes to the B in the next bar, don't die away.
bar 16 can we have some more finger pedaling for harmonic support, sounds a bit bare atm.
bar 24 long line to bar 27 please
bar 26 shape each harmonic fragment as wella s keeping an overall forward momentum.
bar 28 I have 'characterise' written on my score, i think it sounds a bit flat atm.  Enjoy the imitation and scales.
bar 38 LH can support more with sound character.
bar 44 change character, it's more playful.  I realise you're articulating, but do it with choice of sound too, and perhaps you could articulate more, project it more.
bar 48 according to the harmony, the dmaj resolves to the amaj but you're 'whacking' the amaj, I think in order to give as the downbeats, but it goes against the harmony which I think is more important for the line.
bar 50 enjoy the little flourish more. It's a bit dull atm.
bar 53 here you can give us more of the downbeats by supporting the root note in the LH more.
bar 57 lose the energy in the fingers so it almost fades out, the you can surprise us with the repeat or the next time, the minor.
bar 59 RH speak a little more
bar 62 place chord, it's a big moment.
from bar63 your line stops every half bar, can you move through the longer notes.
bar 70 is more successful
bar 74 can you hold the top notes down for longer (Bb, A then to g#), it sounds a bit chopped at the moment.
bar 79 more sparkle in RH
bar 86 LH is melodic, yours sounds a bit like Chopin-esque accompaniment
bar 98-99 I think you have to break the a from the d - it's the recap, needs to be given more emphasis.  Give the D a clout, make it known you've arrived.

Since the rest is pretty much the same, that will do.
Very clear playing in general.  Just watch for longer lines, character changes (I'm sure you've heard the all Mozart's music can be interpreted like an opera) and LH support.

[thalberg]

Ah Mozart! So much to say and be done with    I learnt this about 2 years ago, tis pretty tough.
1st movt.
The opening, can you give it some weight, it's pompous Dmaj, sounds a bit shy, like it's creeping up on someone.  Lead the first a into the d and then move through the line. 
I love how he gives 3 completely contrasting characters in the first 4 bars - pompous unison, trills for comedy and then the tender melodic falling line.  Have you tried starting on the upper note for the trills?  Maybe it's what I'm used to, but you're losing time and it sounds like your choking, not laughing (sorry ).  Can you support the trills more with the bass line.  Also watch the a's in bar 2, rhythm is not completely settled.
Can you change sound for the last part of the opening phrase? It sounds to high energy to me.
bar 7 Rh can you decresc according to harmony.
bar 9 shape the RH through the turns of the passage (again according to harmony)
bar 12 LH melody goes to the B in the next bar, don't die away.
bar 16 can we have some more finger pedaling for harmonic support, sounds a bit bare atm.
bar 24 long line to bar 27 please
bar 26 shape each harmonic fragment as wella s keeping an overall forward momentum.
bar 28 I have 'characterise' written on my score, i think it sounds a bit flat atm.  Enjoy the imitation and scales.
bar 38 LH can support more with sound character.
bar 44 change character, it's more playful.  I realise you're articulating, but do it with choice of sound too, and perhaps you could articulate more, project it more.
bar 48 according to the harmony, the dmaj resolves to the amaj but you're 'whacking' the amaj, I think in order to give as the downbeats, but it goes against the harmony which I think is more important for the line.
bar 50 enjoy the little flourish more. It's a bit dull atm.
bar 53 here you can give us more of the downbeats by supporting the root note in the LH more.
bar 57 lose the energy in the fingers so it almost fades out, the you can surprise us with the repeat or the next time, the minor.
bar 59 RH speak a little more
bar 62 place chord, it's a big moment.
from bar63 your line stops every half bar, can you move through the longer notes.
bar 70 is more successful
bar 74 can you hold the top notes down for longer (Bb, A then to g#), it sounds a bit chopped at the moment.
bar 79 more sparkle in RH
bar 86 LH is melodic, yours sounds a bit like Chopin-esque accompaniment
bar 98-99 I think you have to break the a from the d - it's the recap, needs to be given more emphasis.  Give the D a clout, make it known you've arrived.

Since the rest is pretty much the same, that will do.
Very clear playing in general.  Just watch for longer lines, character changes (I'm sure you've heard the all Mozart's music can be interpreted like an opera) and LH support.

These are some great pointers.  I really wish I had had them before my recital--I would have played much better.