The Viennese Wunderkind: Sonata K333, 1st movement

[pianogeek_cz]

I'm... mildly satisfied. It used to be much, much less coherent a week ago (I don't dare post a comparison from that saeculum tempi obscuri...).

So, would you leave a concert featuring such a rendition thinking "It would've been nice, if only he hadn't botched up that Mozart so badly", or rather "Overally nice, but the Mozart was exceptionally splendid"?

And, as always, any constructive criticism greatly appreciated.

[rallestar]

I like it a lot! It's perhaps a matter of interpretation, but if I were you, I would round the phrases off a bit more, especially dynamically speaking. That's all I really have to say about it - Good job!

[daniloperusina]

Impressive fingerwork! But not enough 'feeling'.

The first ten bars for example is an amazing compositional achievement, but you play as if nothing significant is happening until the ascending scale in bar 8.

Think about it!

The four 16th notes that start everything are not virtuosic, they are lyrical. Together with the first half of bar one they form the first melodic theme, based on a 'sigh' (C - Bb over a Bb chord, where you have to emphasize the C slightly to bring out the idea of tension and release which is there. Notice the slur!)

This is immediately answered by another 'sighing' phrase from end of bar one to first half of bar two. This phrase counterbalances the first. The first phrase appears to be descending, the second to be ascending.

This pattern is then repeated through bars 3 and 4 with first a descending phrase and then a counterbalancing ascending phrase. Each ends on a sigh which you have to bring out. Mozart carefully marked each of these sighs with a slur, so do the slurs!

Next he starts a sort of game with repeated sighs (bars 5 and 7) and extended 16th runs (bars 6 and 8 ).

My point is that there is a musical game going on here. Phrase and counterphrase. Play them differently! There are sighs which you have to bring out. Especially with slurs between two notes you should consider a diminuendo and quick release on the second.
Overall, I think this is a very lyrical sonata. The one preceding this one is much less so. I think your interpretation would gain with a more singing approach.