Dear friends, together with Paolo we have created this intense musical production. Intense because the duration of the sonata, which is composed of three movements, approaches half an hour, but above all because Mozart, although it may seem quite simple upon first reading, is actually very difficult in terms of clarity, speed of execution, and touch. We therefore leave you with the Sonata in C Major K. 521 for piano four hands.
What a beautiful sonata, you are truly monsters of skill, compliments Paolo and Simone! 😆
Even though Mozart is not one of my favorite composers, perhaps because I understand him less culturally, I find him a bit mannerist in his compositional approach, without taking anything away from his genius, of course.
It would have been nice to have the video of your performance, though... because one learns (also) by watching (as well as listening). 😆
G
gian
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Reply 3 by gian
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Always and only respond in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.
Thank you from the bottom of my heart, we are happy that you enjoyed this recording. At the moment I am preparing for my diploma so I have little time to dedicate to reading other things. In any case, Paolo and I already have a project in mind after my diploma to perform a concert on all of Brahms' Hungarian dances for four hands.
@pianoscholar
You are right about the video, but producing a video requires more effort and more time than making an audio recording, also due to the discussion regarding editing; consequently, for the moment, having little time, we preferred to opt for a recording. Later, after September, we will have the opportunity to produce some videos as well.
Thank you for the compliments. I might make a video on piano technique, perhaps using this Mozart sonata as an example. It could be interesting. Many elements recurring in Mozart's piano music appear in the sonata: scales, trills, cadenzas, arpeggios, etc.
For now, thank you and I invite you to listen. The third movement, Allegretto, will be published shortly.
Congratulations!!, my warmest compliments for this performance which I find perfectly responsive to the Mozartian style.
I consider Mozart perhaps the greatest of all among all composers, not just of his time, because he always manages to communicate profound emotions together with the freshness of certain themes, such as in the first movement of this sonata, which brings us back to that connotation for me fundamentally melancholic that makes Mozart, I dare say, an almost timeless author, and his music, an eternal music that always succeeds in evoking the widest range of human feelings, from the lightest notes to the deepest and sometimes almost painful ones, in which Mozart surprisingly anticipates Romantic sensibility.
Not all performers I have had the opportunity to listen to over the years manage to convey these aspects of Mozart's music that you have succeeded, in my humble opinion, in fully capturing.
Above all, I compliment you on the perfect harmony between singing and accompaniment, even considering the evident generational gap between Simone and Paolo which has not only had no minimal influence on the interpretative choices of the piece, but rather confirms how this Music can unite in its freshness of intent even ages as different as yours.
Thank you and always continue to make good music together and more.
Thank you for the great compliments. We hope to hear you soon in "your" Mozart. His famous arias for soprano, which you are, await you and we wait for you to let us hear them. Tell us about these also in the Singing section; I believe many singers, and not only them, are waiting for a "ground" for discussion.
Dear Maricallas, thank you for the beautiful words you managed to bring out about Mozart. As you say, in Mozart there is everything... The mocking irony of his personality, the anticipation of the Romantic period in his adagios, and the melancholy of a man eternally a child who, by constantly performing feats, lost the childhood age in which he should have played instead of playing blindfolded upside down. But who knows if he would have then become the Mozart we know today. His simplicity and complexity at the same instant is nothing short of shocking. Playing the concerto K.466 for piano and orchestra the other day I was wondering: "But how did this 'fool' write these things? Which higher being suggested them to him? It's wonderful!". He was joking even when he was composing... Musical fantasy made composer, he who had all the music already finished and playing inside his head. The writing was only to instruct the orchestra... What a genius!! Playing Mozart makes you perceive the salt of the vitality of his music, always extremely fresh, never boring and a mixture of everything.
