Mozart K330 1st mvt

[electrodoc]

Hello and a belated new year greeting to everyone. Sorry to say that I have been ill since January and have been unable to play for the first six weeks of the year. I am pleased to say that things are now more or less back to normal and that practice has been resumed.

I am posting this attempt at Mozart in order to invite comments and constructive criticism as I find capturing the spirit of Mozart quite difficult.

I look forward to any comments.

Best wishes

electrodoc

Piano - Yamaha S6
Recording: Zoom H4
Reductio to MP3 via Audacity.

[ganymed]

you forget the syncopated rhythm in measure one and three.

bar 1+3: You missed the syncopated rhythm .

 the emphasis is one beat One and two. But mozart makes the rhythmic value of the 2nd G in bar one and three longer because of its dot!!
There is nothing on the  2nd beat. The emphasis is here is one " 1 and". You have to "approach" the 2nd G. 

bar 8: The D sharp is the dissonance and the E is the resolution. A dissonance gets an emphasis and the resolution is played softer. That means, you have to play a little decresce ndo on these two quaves.


measure 19-23: you forget to pay attention to the left hand accompanimenet. Imagine a violin playing these chord figurations. What would it sound like ?

bar 19: The dissonance and resolution rule applies for the C sharp grace note of the d. Mozart could have put two sixteenth notes , but instead he writes a grace note of the D.
Why? You know why. Because he wants the c sharp to get a little emphasis.

Bar 20: same rule here: Decrescendo on D sharp and E . then a little crescendo and decrescendo on the last three E's.

meausre 39+40: I cannot hear a rhythmic difference between the sixteenth notes and and the following quavers. Maybe it is just me XD.

measure: 43 the first g is a little more emphasized than the second one

measure 44: Where is my "piano" ?

measure 46: these pairs of sixteenth notes have to be played in a very certain way.
This was also a convention during bachs time. If you see two legato sixteenths notes , play the first one a little bit longer and the and the second one a little softer and not to long. It would be good if anyone else could explain this a bit better.

measure 58: Mozart has put a staccato sign on the last two quavers. But in the recording it sounds as if you play the first quave staccato and the others non-legato.
That means you do it the other way round. Or are my ears only fooling ?

These are a few suggestions on the first two pages. Of course this is just the tip of the iceberg. There is of course more to it !

i dont know if i could help you , but good luck on this sonata. Im working on it since mid Novement 2007. I know that it is one of the harder ones . Even harder than the A major sonata I think.

[electrodoc]

Dear Gannymead

Wow! Many thanks for the detailed comments, very much appreciated. Yes, I am having some difficulty with the detail and I will now take your advice and study it together with the score.

I do think think that Mozart is more difficult to "perform" than many people think.

More comments welcome.

Electrodoc

[thepianogirlie]

Hello, I'm doing Mozarts K330 as well for my exam! T_T I agree it's very hard to "perform"

Anyways, its played quite fluently! I may suggest using pedals more frequenltly, giving it a smooth tone. The tempo of the piece is good, allegro moderato - i'll suggest not to play it too fast..  perhaps in the 3rd movement.

I'll upload my recordings too later ^^! Well done!

[nyonyo]

This is a very difficult piece to make sounds good. You cannot hide anything, either you have it or you don't.

Overall impression of your performance is flat (boring)...You did not add any dynamic.
You have to remember Mozart music was written in an opera manner, there are a lot of dialogues. It is not like Chopin's music where the left hand, in general, just an accompaniment to the melody. In Mozart, LH and RH should interact with each other. You need a teacher who can help you with Mozart. It is impossible to explain little things that you need to do to make your performance sounds good. You have the basic form, somebody just need to help you to shape your performance. Listen to either Zimmerman's or Horowitz' of this piece. Both of them are good, just their styles are different. To copy Horowitz'  is more difficult, because he played faster than Zimmerman. For your technical ability, I think you'd better off to copy Zimmerman style.

http://youtube.com/watch?v=D2ogbwe0p6Y

[ganymed]

I think it is not our aim as a pianist to copy ones perfomance. You have to think of your own dynamic. But be careful you have to look whether the dynamic markings are Mozarts or whether they are from the editior. In henles sheets small markings are from the editor and the big ones are by Mozart.

Nothing is better than the original !

[nyonyo]

I think it is not our aim as a pianist to copy ones perfomance. You have to think of your own dynamic. But be careful you have to look whether the dynamic markings are Mozarts or whether they are from the editior. In henles sheets small markings are from the editor and the big ones are by Mozart.

Nothing is better than the original !

I bet your original will not be as good as if you can even copy even 50% of Horowitz' performance. In addition, it is very hard to even copy Horowitz' performance...so if you copy 50% of Horowitz' and add 50% of yours, it will sound very original.