Mozart Sonata K. 333, I: Allegro - Susan Adams, Viennese Piano скачать в хорошем качестве

Mozart Sonata K. 333, I: Allegro - Susan Adams, Viennese Piano

In the first movement of Sonata K. 333, listeners can hear the unique sound quality of the Viennese piano. Its light, responsive action is very well suited to this music. Our piano is copied from Stein 1785 and it was built by Johannes Secker in 1996. In Mozart's time, as in ours, this was a luxury instrument! Here is what Mozart wrote about Stein's pianos in a letter to his father; MOZART TO HIS FATHER, SALZBURG; MOZART’S POSTSCRIPT "Mon trés cher Pére! [Augsburg, 17th October, 1777] Now I must first of all start with Stein’s pianoforte. Before I had seen anything of Stein’s work, the claviers by Späth3 were my favourite. But now I have to give preference to Stein’s, for their damping is even better than in those from Regensburg. When I strike strongly, I can leave the finger lying, or lift it, and the tone simply finishes the moment I choose. I can come at the keys however I like, the tone will always be the same. It will not jangle, it will not come out stronger or weaker, or even fail to sound. In brief, everything is even. It is true, he does not part with such a pianoforte for less than 300 florins, but the effort and diligence which he applies are beyond price. His instruments have this particular property compared to others: they are made with an escapement. Not one in a hundred will get involved with that, but without the escapement it is simply not possible for a piano forte not to jangle or sound on. When one plays the keys, its little hammers fall back from the strings again the moment they hit them, whether one leaves the keys pressed or released. Once he has finished such a clavier (as he told me himself) he first of all sits down and tries out every kind of passage, run and leap, and shaves and works until the clavier does everything. For he works only for the sake of music, and not for his own advantage alone, otherwise he would finish it at once. He often says, If I were not such a passionate lover of music myself, and could not play some little things on the clavier myself, I would certainly have lost the patience for my work a long time ago, but I am simply a lover of instruments which do not let the player down and will last. And his claviers really do last. He takes good precautions to ensure the soundboard does not break or crack. When he has finished a soundboard for a clavier, he exposes it to air, rain, snow, heat of the sun, and every devil, so that it cracks, and then he inserts a cutting and glues it in so that it becomes properly strong and firm. He is quite happy when it cracks, afterwards one is simply sure that nothing more will happen to it. He sometimes even cuts into it himself, and glues it together again, and strengthens it properly. He has three such finished piano fortes. I have just played on them again today." Mozart never did get his Stein piano and we feel very lucky to have a copy of one of these instruments now. We hope you enjoy its gentle sparkle. Audio is by Chaianne Ellis at SoulTech Audio, video and photos are by Clive Titmuss and video editing is by Susan Adams. Please leave us a comment as we love to hear from you! You might also enjoy; Beethoven Sonata op. 14    • Beethoven Sonate Op. 14 no. 2 Complete - S...   Byrd, Hughe Ashton's Grownde    • William Byrd: Hughe Ashton's Grownde - Sus...   Rameau, Conversation of the Muses    • L'Entretien des Muses (Conversation of the...   Discussion of the Broadwood piano    • How Did Beethoven's Piano Sound: A Convers...