Mozart - Piano Sonata No. 10 in C, K. 330 [complete]

[@theopenwindowgallery4030]

The more closely I listen, the more I hear. No clattering dishes, no conversation in front of it. Focused listening is the way with such intimate music, like a conversation, one on one. I've long dreamed of a listening group, and a neighbour friend just stopped me on our street and said, "Remember that idea you mentioned to me? Kevin and I are interested in music listening evenings. Shall I start a WhatsApp group to get it going?" "Yes!" Actual interest!! So what are the rules? No talking during the piece? Everyone body brings one piece on vinyl, CD, tape, computer? Whole piece like this Mozart? Classical, jazz, 60s psychedellia? Modern, say Iannis Xenakis, or stay with Bartok, Shostakovich, Stravinsky, Rochberg 3rd String Quartet. Oh, the possibilities!! Could go on for years. Thank you Tony for pushing this out. Rob

[@mmbmbmbmb]

perfect balance of speed, vigor & tenderness. an absolute listening pleasure! thank you!

[@magnusolsen3910]

This is what i call beautifull music^_^

[@Mr1990hjc]

I could listen to Mozart all day, I've even been late to work because, I just didn't want to turn it off !

[@Pierinopasquotti]

Stupendo! Gazie a Mozart, al pianista e a chi l'a postato

[@AlanAlexis013]

Love this interpretation. (:

[@peterpeterle6011]

Clear play.

[@valeriebibi6917]

Toujours aussi dynamique !! J'adore Mozart . Amadeus intemporel :)

[@rothschildianum]

This is definitely Uchida.

[@enochaomein7119]

I'm a big fan of Mozart Great playing! :-)

[@jhopessprite4642]

I am also a big fan of Mozart.

[@PabSwan]

Actually you can tell the speed regulation is done by a 3 ounce shot of brandy applied to the left side of the piano. The tone of the piano is modified which gives the player more reverberation feed back based on the tempo. I can tell based on the quandrum drops at 3:01 and 4:33 that the player is a little sleepy. Other than that pretty good, but I would suggest to speed up the grace notes by a half step for every truncation done after the first.

[@AlexChangcalBerkeley]

One of my favorites. Well most them are to be honest.

[@AlexChangcalBerkeley]

Nice works due!

[@katherineyue7089]

Beautiful!😄

[@louisberges8340]

Quelle incroyable imagination et nombreuses modulations!!!!!!!!!

[@TorstenBehle]

Very, very good interpretation. Not too fast, not too romantic and not too much of a baroque pearl necklace. I like the soft left hand when it plays the Alberti bass. I will try to get hold of a Mitsuko Uchida recording and compare. It's worth to find out.

[@armandogonella2770]

M O Z A R T I SS I M O !

[@grai]

mitzuko uchida is definitely playing here nobody has her delicacy and timing

[@bambibatan]

Excellent playing

[@useuroyen]

Clára Würtz is playing here! She is unique. The very best Mozart player since the divine Geza Anda. Hungarian both, Würtz and Anda.

[@RequiemAeternam01]

Wrong: It's the Japanese pianist Mitsuko Uchida

[@bambibatan]

Cool Well played

[@theblueflat]

still waiting for the page to turn :)

[@HugoAB1]

Beautiful Mozart, I think its Mitsuko Uchida who´s playing :)

[@alger3041]

Depressing thought that the final bars of the latter two movements may be lost to us - that what we have is editorial reconstruction. My thoughts: if they work perfectly let us just resolutely put all thoughts about out of our minds. Only purists, with their perverted ideas, would object to this being performed with bars "Not By the Master." The same situation exists with the Fantasy in D Minor, K. 385. The last eight bars are not by Mozart, but who the hell cares if they finish that work perfectly? There are actually purist editors around today who would beg the question. I personally would consign all such to the same place. And what about the Requiem? Should we in performance, cut it off abruptly in the middle, because the latter portions are not by Mozart, but simply editorial workings? This is an absolutely marvelous sonata, one of Mozart's best, absolutely to be savored and enjoyed. Let us forget about any editorial emendations when it works so perfectly as we receive it. The performing repertoire is rife with this sort of situation whether we realize it or not. "Authenticity" is the bane of creative performance and composition.

[@katherineyue7089]

This comment.... It's really deep.

[@alger3041]

Katherine Yue As I had said there are such anomalies all over the performing repertoire. And despite what those who absolutely insist on "authenticity," whatever that is supposed to be, or absolute urtext purity, Only What The Master Wrote, are depriving themselves and others of a valuable resource, as it very often happens that an editorial emendation or completion of a work to enable performance, will actually turn out to be better than what the composer had written down, and I could point out numerous examples. So let us enjoy the Mozart Sonata, K. 330 and Fantasy, K. 385, and the Requiem, and dismiss all such thoughts of "authenticity." They accomplish absolutely nothing.

[@mynamewhatis7254]

+alger3041 I'm no expert at all... but I agree with you except that I think it should also be important that people are made aware *which* part is not by the original master himself, in any other pieces that this happens as well.

[@alger3041]

mynamewhatis If a work has been accepted in a certain manner, even if not entirely by the composer, I think that they should feel free to savor it in that manner. An example: Beethoven's Violin Concerto, when first introduced, was significantly different from what we know today, which latter may have been the result of editorial emendations. Now it is entirely possible that this original version might well come to light. Does that mean that we automatically discard the version that we've known all the years because it is not 100% authentic? I for one would not be willing to do so, and I'm certain that I would have lots of company here, especially if Beethoven's original turns out to be a far less ingratiating affair. Take a look at the cadenzas. Beethoven did not compose any for the violin version, as far as we know, but he did for the piano version, which at least to me sound like far fl8ng affairs, having no relation or relevancy to the tranquil character of the work. Kreisler's violin cadenzas (which frankly should be adapted for the piano version) fit in far more stylistically with the remainder of the work, but who would have the guts to even suggest that Kreisler's work in this one area was better than Beethoven's? And look at the interpretation that is generally accepted today. It is a purely 19th century romantic development, such that Brahms designed his own concerto with such a conception and interpretation in mind. Why should we reject this simply because it is not completely Authentic, is Not By The Master? This has become a complete fetish nowadays, and external issue outside of any musical considerations. I for one want no part of it.

[@mynamewhatis7254]

***** To be honest I didn't read the whole thing. Way too long :/ But I think I can mostly reply to your comment by saying, no I don't think that means discard the version we know and love. Just acknowledge that it is not the actual original. If people remain ignorant to that fact, well... they're being mislead to the truth! Which is *not* to say the modern version is automatically not as good or worse. That's up to the individual to decide.

[@maxcarrier9431]

It's very nice

[@michaelbell4108]

One may ask, "Who is the Mozart of our time?". Of course, we cannot see the woods for the trees, only time filters the irrelevant and the mediocre. It is a fantastic gift that men such as Bach and Mozart clung to their integrity despite the horrible vagrancies that are inherent to "vogue". Beethoven was lucky in this respect: his style happened to connect to his contemporary audience. But the 18th century in music was like the "seventh wave". There may be no "very great" composer just now...?

[@youmepiano]

1st 00:01 2nd

[@sh-zt1lx]

2nd 6:15

[@sh-zt1lx]

3rd 12:45

[@KeonYoungPark]

lovely

[@worrywart4658]

These comments are sooo poetic and some what depressing

[@eunjinseo2769]

It was a very nice

[@mmbmbmbmb]

I really like your very competent comment ~ and actually also had the thought of 'comparing' (before I read it) ~ but I would compare it with the marvelous Mozart-Interpreter Ingrid Haebler. And then ~ I will sit down at my piano and 'practice' ;o)

[@MsTommyknocker]

Where can you get the piano sheets??

[@augustbg5358]

Online

[@DanielFahimi]

@• Akuma • bro, go to imslp

[@lashakvaratskhelia5258]

Yes, but I really can't feel contrast between dynamics

[@brianswanson9881]

I asked for "Mozart's most romantic Piano Sonata" and it gave me this. What Mozart music would compare to the Beethoven's "Moonlight Sonata"?

[@ensifer329]

Brian Swanson why you want to compare mozart’s sonate with Beethoven ?

[@lifesmood]

Moonlight Sonata sounds sad and depressing. Feeling low.

[@jhopessprite4642]

I want to let my crush the Chinese singer Ju Jingyi, who is from the southwestern province of Sichuan, China, listen to me play this piece. My dream is always to play the piano when I see her in China after this pandemic. I hope she likes classical music by Wolfgang Amadeus Mozart.

[@katherineyue7089]

Wait. Why does it say "Piano Sonata No. 10 in C Major, K. 330 (300h): I. Allegro moderato" by Cecile Ousset ? Is that the performer?

[@okrum]

Decent enough album

[@MickeyJeroen]

Zo mooi!

[@maidungnguyen7274]

Good job How old are you

[@abigailesbrandt1445]

From Baby Mozart Music Festival

[@fulviozanoni8450]

Il faut aussi ecouter ce Mozart par Fulvio Zanoni.

[@leeton12]

[megaphone]Listening to a bit of Mozart are ya'? Bit of the old classical with no words and a bunch of pianos 'n that? OK. See ya![/megaphone]

[@한서연-x5z]

내 콩쿨 노래

[@totallyfake2852]

This whole video is a bit sharp for some reason...

[@MozartianObsessor]

'indescribable' maybe? :) kinda paradoxical, since indescribable is a way to describe some thing

[@BarbaronaGianni]

is it mitsuko uchida playing?

[@seoulstn]

Yes

[@1141951fraffly]

Not big enough to be Barenboim - too dainty. My money is on Uchida - charming!

[@직오은]

wj dlrhr concursdptj tkdwkd qkerh dhktdjdy...♡ ahckfmxmsla rkatkgody eoghlwkdtkd! gkrsusdot >_< dhffuwnutj rkatkgkf Ekfmadlrndy,,♡ 저 이곡으로 콩쿠르에서 상 받고 왔어요! 대회장상>_< 모차르트님 감사합니다...학년에서!받았어요~^^ 영상올려주셔서 감사할따름이구요,,,♡

[@jubilantjules10]

It seems like the notes are a whole step off.

[@Supcharged]

d major?

[@katherineyue7089]

No, it's c major.😊

[@jungsoojeon4289]

why are most of the comments depressing?

[@maidungnguyen7274]

I like you

[@isaacmatzavraco3991]

jola

[@professordeportugadoyt113]

cute :)

[@jolandaraimann8509]

Daniel Barenboim

[@karthiksekaran6140]

Are you sure? How do you know??

[@jolandaraimann8509]

Only Daniel played Mozart the Rest is shit Barenboim was not his name Schumann from Vienna

[@jkend7508]

the notes are out of tune..

[@mosesjang]

What do you expect from an old piano