Mozart - andante from K332

[daniloperusina]

2nd movement from the Fmajor sonata.

[prongated]

I personally prefer B flat minor to be darker, not bolder than B-flat major - but it's a choice. I like it like that so that the dominant C major chord comes across more dramatically. I'm not too sure about the way you play LH in the F major section, but otherwise this is an excellent performance! You generally play with a very nice tone and beautiful phrasing! A very musical performance! Bravo! Can we hear the other movements?

[daniloperusina]

Thanks!
Yes, the change from major to minor needs some kind of treatment. In my case I guess doing the major section so softly made it inevitable to increase the dynamics for the minor, rather than attempt some ppp.
Which dominant C major chord do you mean?
What it is with the left hand?
Anyway, thanks for your comments, and I just posted 1st mvt.

[prongated]

Thanks!
Yes, the change from major to minor needs some kind of treatment. In my case I guess doing the major section so softly made it inevitable to increase the dynamics for the minor, rather than attempt some ppp.

Or you can bring out the melody more, then bring it down come the b flat minor ^^

Which dominant C major chord do you mean?

Bar 13 on top of my head

What it is with the left hand?

The way you articulate it...the slurs and the staccatos sound random...what edition do you use? Or is that your thing? I noticed similar in the 1st movt...

[teresa_b]

Beautiful!  I see no problem with LH articulation, it sounds like you are playing it the way it's indicated in the score. 

I noticed you didn't take the variations in the repeated section. 

You have a very, very lovely feel for Mozart, and you play with grace and wonderful phrasing.  Congrats!

Teresa

[counterpoint]

I think, Mozart should sound always a bit cheeky, even in his slow movements. Mozart should never sound sentimental. In the rare cases where Mozart's music talks about sadness, it talks about serious sadness. In all other cases Mozart makes fun of sadness and self-pity.

[daniloperusina]

Prongated, yes that's another idea with the major/minor shift. Don't know how it works until I've tried though. Do you play it like that?

C7-9  in bar 7 is probably the one. Again, your idea about more drama is of course based on another interpretation. I don't think I could emphasise it more according to how I play the previous bars, or should I?

I've used various editions, pre ww1 peters and two post ww2 henle. You are quite right about me not paying scrupulous attention to notational details! I play legato where it's indicated staccato and vice versa. I should probably spend some time now looking at the score again.

Teresa, of my three editions, one is completely with ornaments in the repeated section, one is without, and one is with both. I choose not to do these ornaments partly out of doubt about their authenticity, partly because I felt some sense of purity without them, and partly because of laziness in learning them.

Counterpoint, I don't agree except about sentimental. Actually, reading about him makes me think that he was quite sentimental as a person, but that's another thing. I can't see his music as being cheeky, I don't think he liked to joke in his compositions, or that he was ironic, and I even think his music often talks about sadness, especially in very quick changes between light and dark and more so the older he got. But perhaps that's just me being sentimental.

Thanks all three for you comments!

[teresa_b]

It's perfectly fine to choose the unornamented version, although I have a feeling you didn't do so out of laziness!    My edition is urtext, with both--it's marked "from the oldest edition" on the embellished one, and "from Mozart's autograph" on the original.  So it isn't clear who actually wrote those embellishments--although they are very Mozartean, and I play them with no compunction.   

As for the cheeky comment, I tend to think Mozart may have been that way in some of his compositions, but not everything was meant to be so!  This movement does not seem to lend itself to cleverness, but more to a kind of soft serenity, with a twinge of sadness. 

Mozart ran the gamut of emotions, necessarily in the style of the 18th Century, but in no way limited to the ironic or cheeky. 

Anyway, I love your playing, and I'm going to listen to your Allegro now.

Teresa

[daniloperusina]

Teresa, have you recorded this with the ornaments? It would be very nice to hear!

And my personal preference is for Mozart without irony. I once heard Brendel in concert doing concerto nr 22, where he apparantly saw lot's of humor and I detested the whole performance. Didn't do it for me.