W.A.Mozart, Sonata n°12 in F Major, KV 332, Wim Winters, Clavichord скачать в хорошем качестве

W.A.Mozart, Sonata n°12 in F Major, KV 332, Wim Winters, Clavichord

W.A.Mozart, Piano sonata no 12 in F major, KV 332 on a Saxon Clavichord. Part of the HTR (Historical Tempo Reconstruction) Series. Track list + info on the recording below. -- 🙋If you want to support what we do: ▶  / authenticsound   -- 📩One weekly mail in your mailbox? 👉http://bit.ly/as-mailinglist -- 👩‍🎓 Check out my course on Keyboard Technique: 👉http://bit.ly/Keyb-Tech -- 💿 150 years of clavichord music on 3 CD's: https://www.authenticsound.org/yourse... -- Track List: 0:00 Allegro 9:46 Adagio 17:42 Allegro Assai This is one of the most famous sonatas Wolfgang Amadeus Mozart wrote and, as I believe, one of the most difficult ones as well. Date of this composition is 1783, Salzburg or Vienna. Difficult, since all three movements contain such vast amount of variation in rhythm, affect, mood, ... and all of these elements follow so quickly one after another, that the performer constantly feels challenged to stay on his/her track in building this gigantic piece of art brick by brick, as to come finally to a unity. Choice of tempo, as in any piece of music, certainly here is a major decision. I will make sections on my new website (www.authenticsound.org) in a few months, explaining basic rules for what can help us in reconstructing possible original tempos for these pieces, often today played at speeds of which I believe are above what was the original meaning of the composer. Studying and trying to understand the notation, connecting that notation to the so-called 'tempo ordinario', which basically means the 'normal, starting'-tempo for a particular time signature in combination with a certain notation, is one of the essential elements to start with. Very short: a quarter note should still has the lenght of a quarter note, an eight note should not sound as a sixtheeth and so on. Just applying this simple rule will guide you a long way. As an extra, there are 1000s of exact metronome numbers that can you inspire as well. Checking your own tempi against them is always fascinating, interesting and sometimes even confronting as well! For this Mozart F Major sonata we have detailed MM numbers, among others from Ignaz Moscheles. Moscheles was one of the most important early 19c. pianists, he had a long life and many contacts with musicians like Beethove, Mendelssohn, Chopin, Schumann, ... and his metronome numbers are always excellent. Moscheles gives following tempi for KV 332: 1 Allegro quarter note = 160 2. Adagio eight note = 76 3. Allegro Assai dotted quarter 92 In the old metrical tradition, that Moscheles followed, the note value represents the unity (as the up and down from a tactus), the speed (ticks) represent the parts of it (up or down). So Moscheles tempi in this reading compared to mine (in our modern reading): 1 Allegro quarter note 80 / 100 (his/mine) 2 Adagio sixteenth 76 / 84 3 Allegro Assai dotted quarter 46 / 60 So yes, my tempi here are slightly faster than those of Moscheles, the adagio being the closest. In the framework of notation, Moscheles' tempi on paper, certainly for the Allegro movement, seems to be more aligned with mine. 100 for the quarter note indeed might be more an allegro molto than just allegro. The open notation at the beginning could 'justify' that, but anyway, it is a slightly different feel. The allegro assai is also within the span of the notation but also here you'd have a different perspective in that tempo. I definitely will try to reach the Moscheles numbers in the future, and my guess is that on the pianoforte this will be easier than on the clavichord, that, surprisingly to many perhaps, has some Ferrari allures compared to its bigger companion.