This is such a great channel that doesn’t have nearly as many views as it should. I love your videos! Edit: Also I want to point out you remind me a lot of Edward Snowden haha

Thank you for showing that last "alternative" ending I've never heard it before and it's just so refreshing and new I love it!

The profound analysis you have provided merits my heartfelt gratitude. Not a single one of the piano instructors with whom I have previously crossed paths has dedicated such a substantial amount of effort to meticulously scrutinize a musical composition. As a result, I ceased searching for a teacher and have, for the past twelve months, practiced on my own. Your insightful commentary has reignited hope in myself and other piano enthusiasts, inspiring us to pursue the art of interpreting a piece, rather than simply playing it. I strongly believe that all the techniques a pianist learns serve the purpose of fulfilling the composer's musical interpretation. Once again, I express my sincerest appreciation for the time and exertion you have invested in providing such valuable insight.

Its fascinating that Mozart did not complete the piece, and we can only wonder why that was. We don't think of him as struggling to conceive his music, do we? This fantasie is so varied in its moods and styles. The coda we have is unimaginative and perfunctory. I hope more pianists will draw on their own imaginations and create ways of ending the piece, as Uchida did.

thank you man! ever since I stopped taking piano lessons I missed being taught music!

THANK YOU VERY VERY MUCH! This is my absolute favourite Mozart piano piece! I knew that there was some controversy about the ending, I remeber my piano teacher talking about that, but I never knew exactly what. I only discovered it now, with your video, more than 10 years later of playing this masterpiece. This made me so happy, OMG. And that Uchida's ending is pure gold! Thank you, really

Je dis une nouvelle fois à quel point je suis émerveillé par vos conseils si justes, par le plaisir que nous transmet le meilleur professeur de piano que je connaisse! A 75 ans je vous remercie pour le bonheur que vous nous procurez! Jacques Gonnet

I'm a composer, and before you mentioned what Uchida does when I heard that final A7 chord I thought ahhh it is supposed to go back to the start! As usual, Uchida has the right idea!

Uchida's ending brings to mind the ending to Schubert's 4-hand Fantasy in f minor, which goes back to its opening too. Wonderful analysis! Thank you!

I played this piece about 15 years ago, It's so great to see you analyzing it! I know exactly how you feel at 13:14 - so satisfying! But my favorite part is actually 13:41, something about that high E always gives me a twinge in my heart.

I'm learning so much on this analysis videos. Keep it up with the good work.

Thank you for the beautiful performance with analysis! It certainly unearthed the composer's motif and enhanced audience's appreciation of the piece!!

Just found the channel with this video. Loved it! Thanks a lot!

What a pleasure to watch you play. This piece is out of my reach at present, but I have listened to it several times following along with the sheet music. Your tutorial was a delight! For now I enjoy working on Mozart's simpler works.

Loved the video, have loved the piece for a long time. I did not know about the ending and I had only ever known Uchida's ending. It's beautiful

Wow. I played this piece a couple years ago but I never realised, that there's so much brilliance to it.

As a concert artist I have always loved the Fantasia in D Minor and learn it first around 8 years old.

Oh I love Mozart so much, my aunt was from Salzburg. I still can’t play the last quick part, so I end before that on a nice d major chord and declare the piece finished - I hope the Mozart police doesn’t arrest me for doing this! Another manageable Mozart piece is the 2nd mvt of the 23rd concerto, would be great to have an analysis of it. Thanks again for your great work!

I like the Uchida ending better. Thanks for playing it. It works better - and it’s all Mozart.

That part of the end is really interesting. Beautiful and charming piece, I love these exolanations you made, Thanks as always❤❤❤❤

Great video! Really helped me understand this piece and appreciate it a lot more. Regarding the ending: if we know the first edition didn't include the ending, why play anything at all after the ending of the first edition? I like both versions, the joyful ending written by Müller and the more melancholic one proposed by Ushida, but didn't Mozart intend for the piece to end after measure 91?

Superb breakdown of this masterpiece. Great playing. Excellent being able to hear the lecture, music, and score.

Keep it up Henrik!!

love your channel thanks for making these

This is great analysis! so helpful for a music student like me! Thank you very much!

Thank you very much for your wonderful, step by step explanation of the piece itself and the historical background. I actually personally like the ending that you played. This is completely my personal preference to end the fantasia in the same mournful note as the beginning. I am looking forward to all your interpretation.

You have done it again! Thank you!

Gracias por enseñarnos el tutorial de esta partitura, una de mis favoritas, aunque hoy he aprendido mucho con sus enseñanzas, es un lujo para los pianistas, que nos enseñen la partitura como hoy la he escuchado, gracias, gracias,gracias💕💕💕

Very well explained ! Thank you

Lovely. You're an amazing Pianist. Your touch is superb. Thank you very much for the lesson. Well Done!

Thank you. I have learned so much from you these past two years.

Thanks for this very interesting piece . I will learn it this week

Thank you so much! Your all videos are helping me a lot!!!

You are a master and obviously so passionate about this. I wish I could study with you.

Great stuff!

Love your channel

Amazing. Thank you very much. I don’t have a teacher so your videos are like beautiful lessons to me. Again, thank you, very much.

I love your emotional analysis! If you ever analyze the second movement of Beethoven's Pastoral Sonata, then I would rest in peace. Thanks! Wonderful work!

Thank you so much for the wonderful lesson!!

Wow very persuasive ending! I heard pianist Jongdo An's different version, too. That one is also quite lyrical.

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I enjoy your videos. There are not enough channels about analysing and understanding classical music. I wish you would also talk about how to compose yourself. I always have nice motifs and ideas which I can develop but I always end up by not ending up. My piece always gets longer and longer and then I write a new melody. Im lacking the structure to wrap everything up into one piece.

Thanks for the video, which is excellent as always. I have a question. You describe the chord in measures 3 and 4 as being a g-minor with an additional e (6th note of the chord). Is it true that the notes of this chord are also the notes of a half-diminished 7th chord with a root of e? If that is true, how do you decide whether to think of the chord as a g-minor or a half-diminished e? Is there something about the surrounding context that tells you which way to describe it?

Belíssima interpretação

I love this piece. I love this video. Edit: and I love both endings

Beeindruckende Analyse! Dankeschön, Grüße aus Argentinien!

This channel is great

Great video! I suscribe to your channel! I really love that Fantasia. I have some questions about fingering in Mozart pieces of piano. 1) When there are some repeated notes, do you play them with one finger or with many of them? 2) When there are octaves in one hand do you use 1 and 5 finger or switching 5, 4, and 3 finger with the thumb to play them more legato? 3) Is it right to play patterns with same fingering? For example the ending of the intro before the main theme. Thank you very much and have a great day!

Tyvärr är jag 1 timme försenad för att se den här nya videon från din kanal. Jag studerade för alltid min bok: Elementary Studies Duvernoy, men jag hoppas fortfarande kunna utvecklas efter cirka 100 års studier. Idag har jag en ledig dag att studera. Jag är motiverad 🤓. 👏👍

I love that melancholic piece but I never understood why there are those "presto" cadences. For me, they break the thread of the melody. Thank you for that insightful analysis!

Gracias maestro💕💕💕

Very interesting , thank you

Thank you so much that was very helpful

The Uchida ending makes more musical sense than the 1806 B&H edition.

Thanks, learned a lot.

Thank u . Interesting

Thank you sir for this demonstration, @9:20 what's the best fingering on left hand when playing the 3rds? I'm still learning piano, however self taught..

This may be my favorite video

Check Gould's version of this fantasia. It's somewhat bizarre, full of interesting ideas, and it totally works better than any other version I've heard.

I notice that a lot of really good players like Walter Klein take the piece very slow. I think it is because they want to play the cadenza passages in time. One thing I like about Mozart is that he usually maintains a continuous pulse through a piece (even if there might be rhubato, this is never lost). This was one of the first pieces I learned to play by Mozart because I loved the opening. As I grow older I have taken more to some other pieces Mozart wrote because I am not so keen on the Beethovenish tempo changes in the Fantasia.

During the Andante section four bars before the fermata feels very Elliott Goldenthal. Warming sounds

Intressant!

Check out the lecture by Robert Levin, where he, I believe correctly, explains that the fantasy was supposed to end with the dominant chord and was meant to be played before a D major piece of the performer's choice. Composers of the 18th and 19th centuries would improvise fantasies as introductions or modulatory transitions between the works they performed, but this fantasia is an example of a piece meant for amateur musicians who did not possess improvisational skills.

The book I have with this piece included has cut time, but I have only heard it performed slowly and I was so confused!

Excellent video. Thank you! I tried signing up for your Patreon but a message stated that it is closed. Is this true?

Very nice like every Video:)

I don't know anything about Paul Hirsch, but I noticed that he studied this problem in 1944. In an odd way, I found that encouraging; in the midst of the most violent confrontations the world had ever seen, still people were trying to go about their lives, scholarship included, hoping, I suppose, that the war would end one day and the academic/scholarly pursuits would survive. Hitler: gone; Mozart: survived.

2:57 Shouldn't it be iv 6/4? Also later you could have indicated the first inversion of some chords.

I've seen the half note take the beat in 2 tempo extremes, the extremely slow and extremely fast. And I see different time signatures more often in these, 2/2 often in extremely fast and 3/2 often in extremely slow. I can see why it occurs in both extremes. In Extremely Fast: Momentum is very fast, feels like eighth notes, but maybe the notes aren't quite furious enough to be designated Presto, even though that's what it feels like, so you get an Allegro in 2/2 instead of a Presto in 4/4. ex. Pathetique Sonata, Beethoven In Extremely Slow: The momentum is very slow, so much so that the quarter note actually feels too fast to be the beat, the quarter note feels like your normal eighth note. So instead of an Adagio in 3/4, you get a Largo in 3/2. ex. Egmont Overture, Beethoven(albeit, only the introduction of this feels slow, probably because it's in French Overture form(which often forgos the second slow section)) Both have to do with the quarter note feeling like the eighth note. But why is it more common for me to see 2/2 in pieces with the speed of a Presto such as the Pathetique Sonata and even in Prestos themselves such as the Presto of Chopin's Piano Sonata in C minor(I mean the presence in Prestos could simply have to do with the fact that duple meter is more common than quadruple meter in Prestos(most Prestos I've heard are in 2/4, though some are in 3/4 or 4/4) and 3/2 in pieces that are super slow when in theory, any half note time signature could be used for both tempo extremes?

Wow, the Gulda version sounds great. The tension unfolds on a complete different level.

Fantastic analysis! I learned so much

Henrik: This is a fantasy, or fan-TAY-zha... Me: Uhm, fan-ta-SEE-a? Great video as always. :)

I prefer it without any extra ending, given the whole character of the piece, I like the unresolved ending.

If you think the 2nd part (Adagio) is the opposite of the 1st (Andante) you´ve missed a main thing: the theme of the Adagio is hidden in the structure of the Andante! AND btw: you are using not the best edition ! The Andante is ALLA BREVE! so it´s been played (far) to slow ... Andante Alla Breve means "going in halves" !

Regarding the speed of the introduction, as I understand it, the 1804 edition uses cut C as the time signature (cf the modern edition by Willard A Palmer transcribed from a photocopy of that 1804 edition). We don't know if the Breitkopf edition from 1806 used the lost manuscript, but the 1804 surely must have done. I have not seen the 1806 edition, but am making an assumption based on the later B&H edition from the later 1800s which I presume uses their "house edition" as their basis and uses C as the time signature: which I interpret as them retaining as C from their own 1806 edition. On balance, I'd go for cut C as correct, as both being the original source and which also makes sense with the Adagio sections, which at whatever tempo you use surely are not four-in-a-bar: that is musical nonsense to my ear.

Bellissimo

Would this work on organ or harmonium? Or accordion?

The second chord I would say is E half-dim 7th not g minor with a sixth, that's jazz talk.

Is that Mozart meets Robert Smith (The Cure)?

I wonder, has anyone recorded the piece and just stopped where Mozart ends? One could then imagine an ending. Maybe this is what Mozart wanted. But there is always an insistence on tacking on some classical cadence.

One of the few pieces of Monzart I really like - I'm sorry Monzart-Bro's

Mitsoku☠️☠️

Ah! Thank you Sir. Finally, I understand why I always disliked the end piece.

If you think Mozart's Fantasia in D minor (K.397) was interesting, you would have a field day analyzing Bach's Chromatic Fantasia and Fugue in D minor (BWV 903).

Damm i wish u were my teacher

Going back to the introduction is a terrible idea. I can assure you Mozart would never have done that. Muller's idea is best and works just fine. Music in minor during the classical period was always dangerous so it was better and safer to end in major.

Mozart, Mueller or Uchida: room for debate, but at 17:48 you should always play b minor, not D major like you do!

Sasuga Mitsuko-sama.

Beginning sounds like something Beethoven would write with the gloominess of it. Always think of Mozart with super happy bright music lol

Absolutely. With such a minor piece of his catalogue that's been recorded a million time, by all means Rewrite it. Have fun. Mozart wouldn't careless.

You speak about andante and adagio and play them adagio and andante... :)))

I'm of the opinion that Mozart is having fun w overly dramatic, "sad" Italian opera musical gestures: listen to the "pathetic" melody after the opening arpeggios, then the somewhat shlocky descending chromatic chords, w the more quick, scherzando parts expressing his thumbing his nose at the genre. For the musical aesthetics of the time I think it is a weird, funny piece.

Umm. Uchida is Japanese so her name probably not pronounced like u shi da. Is u chi da

why invent an ending? just play like mozart did. Open end.

Both ending would never been in taste or Mozart.First one is too chatty without much, the second too boring. Probably shorter a slower beat with repetitive suspension like theme 1 para-para para-paaa pa pa pa pa pa paaa pa chord2 then chord1 from the first Adante theme.Fermata.