I felt you could have been a bit more expressive throughout, especially towards the beginning of the movement. Think six of the demi pulses from the end of bar 33 for the Bb here, and two for the C. You play them all slurred. I love the slight pause here. Duration 12 minutes Composer Time Period Comp.
Lastly, I thought the audio quality was good. Sorry this has grown to be a bit long again, especially as most of my remarks are down to what are probably mere editorial points. This is the last of the sonatas that published in. Mozart composed his Sonata in E-flat major, K. Two Minuets, each lacking a Trio, follow the Adagio.
By the end of bar 15 you must have lost tempo, because in bar 16 there seems to be a distinct gear change. I know that a bad workman blames his tools and all that, but the piano does have a decided on off switch feel to it compared to the acoustics that I've played. Others have already given you some insightful comments on interpretation, so no need for me to. Even though the tempi are equal, the first has a feel of 3 in a bar, while the second takes a broader view and lilts along with a feeling of being in 1. This melody forms a regular second subject in the key of the dominant. I guess the simplicity made me overconfident with this one. Does your edition have pauses fermatas in bar 8? I especially liked your attention to the endings of many phrases.
The second Minuet, in E flat major, contains a lengthy, quasi-developmental extension of the main theme with numerous, wide dynamic contrasts and a modulation to the dominant. The after-phrase is slightly lengthened, and modified so as to end in the key of the tonic instead of the dominant. What customers say about pianostreet. The 11 th variation is marked Adagio Cantabile in the first edition and the autograph. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. Tim, I just had a listen to your Mozart sonata in Eb major. On this page of our site you can find detailed information about Sonata in E-flat major K.
Bars 8-16: Part i b : Eight bars in B flat major Dominant. The first phrase ends on an inverted cadence in the tonic, Bar 4, the second on a perfect cadence in the dominant. The youthful Allegro concludes the work in an energetic fashion with playful uses of contrast, chiaroscuro, and runs. By this time the speeding up has already happened in your head only, but that's where it counts , and so when you actually start hitting the keys, you can do so in time. However, this can result in some functions no longer being available. Bars 8-15: Bridge-passage or Transition. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated.
The first is in the dominant, B flat major, and features a main theme that begins conspicuously like that of the Adagio. I think the basic notes already have enough of a slow-down built in, so that no additional slow-up is necessary, and I would play this bar in straight tempo. They may not be elsewhere. The dividing of Part i is one of the features which marks the gradual evolution of the larger sonata-form out of the older and smaller form. Henle Verlag I think it is important to observe the articulation marks carefully. This may be because his Salzburg patrons were not interested in solo keyboard compositions.
I have recommended to my advanced students that they also join Piano Street since getting sheet music from there is a much less expensive alternative to ordering and paying for the music. But of course by the time you repeat, you will already be up to speed. The formal aspects of the movement are predictable and its sections are succinct and well rounded, requiring no coda to provide a convincing close. The first subject consists of two four-bar phrases; it ends on a half-cadence in the tonic. The only main criticism I would give is that it was hard for me to hear the alternating 'p' and 'f' dynamics throughout, although I agree in this piece it should perhaps be a bit subtle. Note the inversion in the opening phrase Bars 18-22 ; compare with the opening phrase in Part i.
Please obey the copyright laws of your country. Did you mic an acoustic piano for this? It should be noted that in Bars 30-31, an interrupted cadence replaces the original perfect cadence, and leads to the following cadential repetitions. I have recommended the site to many of my friends who play the piano. Note the inversion of parts in the following eight bars Bras 47-55 , which are worked on the opening motive and which, passing through the keys of A flat major and B flat minor to C minor. The second subject consists of an eight-bar sentence Bars 16-23 which is repeated, Bars 24-39, this time being varied and considerably lengthened by cadential repetitions. Hence, the edition is in its country of origin or a government publication.
But a lot of times I couldn't hear the changes at all and found myself missing them a bit. That's usually a good policy, but here that is the same note as the one we've just had, so I would avoid its repetition by beginning this trill on the main note instead. The slightest error or unevenness of touch is cruelly exposed. Regards, Eddy Thanks for that. The second , a supple , unaccompanied in its opening bar, incorporates a descending chain of , a favourite harmonic formula of the and periods. Bars 12-18: Part ii: Passage modulating back to B flat major. Bars 16-39: Second Subject in B flat major Dominant.