Good evening everyone! I have just started this sonata and I want to present to you a "grave" dilemma: measures 1-2, practically anyone who has played this sonata and practically all printed editions except one (mine) show 4 triplets... Henle Verlag, Bärenreiter... All except the Wiener Urtext which shows two sextuplets. Now... I have also checked the manuscript; Mozart marked neither 3 nor 6... personally, I would be more inclined to think it is two sextuplets instead of 4 triplets, and I will explain why: first of all, the group itself... It is a group of six notes... Had he wanted to unequivocally indicate two triplets even without indicating the number, it would have been enough to make two groups of 3 notes... And besides, all six notes are placed under a slur...
The fact is that practically all recordings and 99% of editions play and have triplets, so I wonder if this isn't an acquired "practice" over the decades.
Yes, and as I was telling you, those triplets don't convince me... and they convince me less and less; I just spoke to my composition teacher who plays it, and he told me that those triplets never sat right with him and that the sextuplets definitely make more sense; it didn't take me long to convince him even when I told him about the manuscript hahahahahah, although the first moment was shocking ahahah.
Anyway, it doesn't surprise me that Fisher has triplets if even Henle and Bärenreiter are like that... But looking at the manuscript, it definitely looks like a sextuplet..
Besides, not to be pedantic eh ahahaha, but the trill should start from the auxiliary note, so we would completely overturn the first measure ahahahah
Yes yes, indeed Fischer....romantic too...ha ha...why is the manuscript shocking? He wasn't expecting it? Henle makes stunning ones..even for Beethoven...
Truly beautiful.
The sestina is certainly more fluid...see which one works better for you along with the historical practice.
But study...study....I want to hear the first mov.
Eh, give me time!!! I've just started it... And the phrasing work to be done is not exactly a walk in the park... The speed won't be excessive, after all, it's an allegro... Otherwise, I won't be able to phrase everything as I should.
No, the first impact with the idea of the sextet was shocking; you know, after 50 years of doing two triplets, even if you don't like them, they tell you it could be a sextet... The impact throws you off for a moment ahahahah anyway I really think I will do the sextet.
Anyway... More romantic than Fisher, there are only Liszt, Wagner and Brahms ahahahaha 1886-1960... Pupil of Martin Krause who was a pupil of Liszt...
Great to know... I'll add Arrau and Skoda instead... anyway, I like Fischer. Keep in mind that in the 30s he was the one who made the first recording of The Well-Tempered Clavier.
I am not saying that he wasn't a good musician, obviously... Together with Schnabel, they were the first to give a different imprint compared to the virtuoso pianists of the era, but I believe we can agree that what I want to do is substantially different from a Fisher...
Anyway, I'm studying the exposition of the first movement... I must say that the sextuplet fits in really well... Even though it's going at the speed of a sleepy sloth ahahahah
But in truth, a Fisher or a Schnabel today, who knows what kind of path they could have taken... I'm imagining a mad Schnabel playing Beethoven on a Graf or a Broadwood hahahahahah
