Apparently as he wrote this piece he was having an argument with his father, there’s an amazing documentary on it. I think this piece was definitely ahead of it’s time, and is a testament to the there not being solid transitions into the different eras of classical music. This is definitely a romantic piece, Jupiter’s another example of this, I think once you took away the idea from these composers that they had to write for someone other than themselves they really show how they really wanted to write.

Not much. The 21st came out weeks later. The stylistic similarities between the two are quite evident. If anything, the 20th is easy to follow compared to the 21st and the 19th, where Mozart was exploring decoupling the solo part from repeating the opening orchestral part except for a few "bookmarks".

@@ThePianiolist It's still definitely a classical piece.

@rnnyhoff Don't be silly. Ludwig van Beethoven existed.

How many times have you watched Amadeus ;)

@@jaysparc Is it so obvious?😝

+WRMVH 67 Yes, briliant! The period instruments have such clarity!

+Willem 67Athum I can recommend two: Ronald Brautigam and the Kolner Akademie Jos van Immerseel and Anima Eterna Both do an excellent job with all the piano concertos on piano concertos without adding much of their own flair to the cadenzas. I tend to favor Jos van Immerseel on the earlier ones and Ronald Brautigam on the later ones.

i realize I am kinda off topic but does anyone know a good website to watch new movies online?

@Issac Ray I watch on flixzone. You can find it on google :)

@Grady Timothy Definitely, have been watching on Flixzone for months myself :D

sounds very mozartian xD

Mozart improvised his cadenzas and so does Levin. I think of the two period performances of KV 466 by Levin which are available this one has better cadenzas but in both recordings he's strata above all other attempts. There's also an interesting recording by Michael Rische (with WDR Sinfonieorchester Köln under Howard Griffiths) which covers KV466 and many different cadenzas written for it, including J.N. Hummel's and F.X. Mozart's (W.A.'s son's).

That’s moonlight sonata if Beethoven wasn’t so depressed

I whold say 15:37 is Heaven. There is so much calmness and inner peace in that part.

@@sergeymarkosyan9468 Yes in the second movement, it is a lovely part

+Jason Percy One might even say EJACULATORY!

That's true: Hogwood/Levin and Hogwood/Bilson constitute the vast majority of performances in Decca's Mozart 225 edition not without a reason. It's probably the first Mozart edition ever with focus on period performances.

+Ferrariman601 Indubitably, my good fellow! Much cheer and merry tidings to your kin. Hurrah!

+David Belkovski Such vim and ardour! HUZZAH!

"Pedestrian" lol

Calm down Frasier

O meu periquito também.

it's called fortepiano mate..

Check with Harvard University, Dept of Music, Cambridge, MA. He may still be teaching there, and if not they may know to contact him. Check the roster of professors online; he may have email.

+Kevin Avison Couldn't agree more with your appraisal. I studied classical in my youth/20s however in my early 30s I switched to a baroque instrument and my ears were opened to early music. It came with some realisations: 1) classical and earlier repertoire performed by "modern" musicians is often overly interpreted, stylistically incorrect and seldomly represents what the composer had in mind. Mozart was not a 19th century Romantic composer. Levin's performance sounds much more like something rooted in Mozart's time. Personally, I love the sound of the Fortepiano as the modern piano is a behemoth of an instrument which is nothing like what Mozart would have heard when he played. As a lover of early music I much prefer original instruments which to me, connect with the music more truly.

"Ear-clearing", yes I really like this assessment. For me Mozart's music on a modern 9-foot piano just never sound right for me, and I have been trying to have open mind to accept this "modern sound" for decades. Still prefer period instruments.

Pero además el tocar Haydn, Mozart, etc. en fortepiano es un poco más fácil que en un piano moderno. Por la sensación que tienen las teclas, tamaño de las teclas, y algunas otras cosas.

And playing Mozart on a contemporary piano, doesn't "feel right" either after playing Mozart on fortepiano or harpsichord.

Rupert Tmls, Exactamente!

It's Aïavazovski !

A Chopin's fan I think that Robert Levin does his own improvised cadenzas! There are a few youtube videos of him discussing it.

Yeah I guess to keep it "periodic," they didn't use the Beethoven cadenza.

+Jason Percy Fortepiano continuo :) I think it works well with any Classical period concerto - it is, afterall, what Mozart and his contemporaries would have done. The continuo doesn't work with the modern piano though - the timbre of the modern concert grand just sounds intrusive when it plays with the orchestra tutti, rather than complimentary like the fortepiano.

I believe the painting to be that of the great 19th century land, moon, and seascape painter - Ivan Aivazovsky. If you want to see more, paste that name into Pinterest and watch the fascinating canvases come up. And, yes, Levin, Hogwood, and the entire orchestra are really fantastick here, as is Wolfie!

At the beginning of the piano concerto Mozart gives the following instruction to the piano: "col basso". This means the continuo is mandatory. I find it funny because if the continuo is mandatory and the modern piano is completely incapable of blending in as a continuo instrument then Mozart's concerti are actually not suitable for the modern piano and should be called fortepiano concerti instead with performances without continuo on modern instruments being merely transcriptions.

@@Pawel_Malecki It’s an interesting thought, but I wouldn’t want to discourage non-HIP musicians from playing these works. Too many great baroque/classical works have been banished from the concert hall. The HIP movement has more than achieved its purpose. Levin is one of a select few HIP performers who can raise period practice to the level of art, and K 466 is one of very few Mozart works that profits from the period instrument approach (and only in the outer movements). This performance is an exception to Keats’s maxim about truth and beauty. Beyond Levin, we would probably be better off if the world’s remaining fortepianos were locked away in museums. With soundproof walls.

you are right!...but you see, not every pianist is able to play on the fortepiano, playing on period instruments is not always easy, and they can not fill big spaces...also most people might not like the sound...such orchestras are for those like us, who know a thing or two...:) in fact if you listen Mozart piano sonatas on the harpsichord ( even the late ones) by a good player and a well built harpsichord, you will be surprised how beautiful they sounds, especially on a nice stereo system...after all, in Mozart time the harpsichord was still a very popular instrument. kzfaq.info/get/bejne/e6tyi9Bzzb-bops.html

no you are not

+Jean-Pierre GYSEN Its the Ivan Konstantinovich Aivazovsky's painting "Ship in a Stormy Sea"

+on Period Instruments Thank you very much,I never hear about this painter !

Isn't it an amazing painting!

Aivazovsky I think. The master Russian seascape painter. Beautiful painting, but I think a classical painting is more appropriate for this Mozart piece. Something like Watteau, Louis David,...

yeah, it is really beautifull

This is from robert levin, i think it's improvised on the spot.

@@iliasvlastos6560 He improvises all his cadenzas - nothing is written down.

:-D

evidently it's Ivan Aivazovsky's "Ship on stormy seas", 1858

Hi, its the Ivan Konstantinovich Aivazovsky's painting "Ship in a Stormy Sea"

@@onPeriodInstruments Got it, thank you very much; beautiful painting! I would suggest providing that type of info in the description in future ;)

+pavle vivec Unfortunately Mozart didn't provide any cadenza for this concerto. :(

As was common practice- none of mozarts concertos give a written out cadenza, the performer was meant to improvise it. I also noticed that this adhered to other practices of the time, such as the figured bass in the first movement.

Not true! Mozart wrote down the majority of his cadenza, especially for piano concerto. It doesnt mean that it is written on the original score or would have been played by him exactly this way because he was improvising. But they exist and you can easily get a copy of them. :-)

François Jutier Could you give some examples?- I apologize, I was going off what I thought was the classical tradition of the cadenza to be the performers way of showing off his (or hers) talent.

Gregory Borton I wonder that's an exciting discovery for you then! Here it is from wikipedia: "Concertos where Mozart's own cadenzas (and Eingänge) are extant[edit] K. 175: Two versions for each of the first two movements. K. 246: Two for first movement, three for the second. K. 271: Two for each movement. K. 365: First and third movements. K. 413: First and second movements. K. 414: All movements, two for second. K. 415: All movements. K. 449: First movement. K. 450: First and third movements. K. 451: First and third movements. K. 453: Two for first and second movements. K. 456: Two for first movement, one for third. K. 459: First and third movements. K. 488: First movement (unusually, written into the autograph). K. 595: First and third movements. Cadenzas to at least K. 466 and 467 also possibly existed. These cadenzas are part of the public domain and can be accessed here: imslp.org/wiki/36_Cadenzas,_K.624_%28Mozart,_Wolfgang_Amadeus%29"

For winds they are replicas because unlike string instruments, woodwind instruments don't last very long. Being played exposes them to moisture which in turn makes the wood expand and contract. They can be rebored maybe once but after that they are "blown out"- or useless. String instruments on the other hand last much longer, and it is likely that some or many of the string instruments you hear in this recording are very old instruments- all with gut strings. Hope that helps a bit

Thank you very much :) "On authentic instruments" or "on period instruments" doesn´t necessarily means that all instruments are like the old eones. Maybe the strings are gut strings, but the oboes and the horns are modern ones, not replicas of the oboes and horns they had in the time of Mozart, Haydn etc. Since I heard those period instruments, I absolutely don´t like performances with modern instruments. They don´t sound that good, and it´s not what the composer hat in mind while composing. It´s a shame orchestras in operas still play a "Figaro" with modern instruments. Very bad!

Academy of Ancient Music uses only period instruments and replicas, what means gut strings, natural (valveless) brass, wooden flutes and reeds with significantly less keys. Watching period performances can be funny at times, I almost laughed when I first saw 18th century model of a basset horn.

Lo adecuado es que sea "con criterios historicos o de epoca". Ya que no solo basta con tener los instrumentos; sino también tocarlos e interpretar la música como lo quería el compositor. Por ejemplo, es como si pusieramos a Lang Lang a tocar en un fortepiano Walter y él tocara como si estuviera frente a un Steinway. La digitacion, adornos, el fraseo, etc. son diferentes en cada epoca. No basta tener solo los instrumentos.

Vigo Kovačić part of the mastery of that section to which you refer is in its reservation and the relaxed way it achieves transcendence. Those single notes sound incredible as they outline the peak of the expression. You're right, in other words.

@@alhfgsp Also, absolutely not how Mozart would have even considered playing it. We know this because one of his students took dictation of all the embellishments he added during a concerto...lemme tell you, if any modern pianist tried to add that many, there would be some angry patrons at the concert hall. Concerti aren't MEANT to be soothing and create musical architecture - it's a nice bonus, but it's not important. The point is for the soloist to show off, particularly in the Classical and Romantic eras. There's a good reason Mozart was so respected as a performer during his life - he showed off like no one's business, and was well-loved for it.

Levin gets what he needs to do but he obviously is not a composer. Then again, most people aren't. In fact, listening to Mariah Carey's Emotions or modded lives of her singles will get you far closer to understanding the full scope of what Mozart can do in ways like simple inflection changes(would require grace notes) or changing the note played.

@@MartyMusic777 That's the echo chamber of foolishness talking. A Mozart concerto is essentially a song introduced first by the "inflexible" mega-ensemble called an orchestra, and then an exploration of harmonization and "singing" the melody between the independent soloist and "bound" orchestra. The orchestra is essnetially a pre-recorded backing track and the performer is to do his/her thing in enhancing the initial song and show his/her compositional creativity.

It's the Mannheim Rocket. Just that minor key uses of that are more accessible to the masses than the same technique in major keys.

+mmm I don't like you

well thats the instrument that Mozart, Haydn, and early Beethoven composed on, even Schubert. it was because of Beethoven breaking strings with his thundering playing (NOT banging, he was a tremendously powerful pianist) that he requested manufactures to build a much stronger instrument and expand its octaves (Fortepianos had only about 60 keys) that led to the modern piano

Mozart was the pop star of his day.

Yes, through the time of Beethoven for Opera and theater music, and many works conducted from the harpsichord. Because the harpsichord was still very much in use during this period, many of the publishers of Beethoven's early music for fortepiano marketed it for either instrument. The title pages of Beethoven’s earliest keyboard works read as follows: 1782: “Variations pour le Clavecin Sur une Marche de Mr, Dresler” (Variations for the Harpsichord on a March by Mr. Dres[s]ler), WoO 63, published in 1782 1782-83: “Drei Sonaten fürs Klavier” (Three Sonatas for Clavichord”), WoO 47, published in 1783 1783: “Rondo Allegretto,” WoO 48, published in 1783 “Rondo Allegretto,” WoO 49, published in 1783 1783: “un Concert pour le Clavecin ou Fortepiano,” WoO 4, published in 1890, title on the solo keyboard part of the manuscript 1785: “trios quatuors p[o]ur le clave[c]in violino viola e Basso,”(WoO 36, published in 1828, title from the manuscript) Thus, the earliest printings and ms. of his keyboard works state that they are either for harpsichord, “Klavier” (clavichord), or fortepiano. In fact, Beethoven’s keyboardworks published during his First Period (which ends in 1802) frequently list the harpsichordas the first possible instrument (see the entries in bold below). This is a list of all of Beethoven’s works with opus numbers for keyboard alone or with other instruments during the First Period: Opus 1 trios, published in 1795: “”Pour le Piano-Forte Violin, et Violoncelle” Opus 2 sonatas, published in 1795: “Pour le Clavecin ou Piano-Forte” Opus 5 sonatas, published in 1797: “pour Le Clavecin ou Piano = Forte avec un Violoncelle” Opus 6 sonata (four-hands), published in 1797: “Pour le Clavecin ou Forte-Piano” (Harpsichords were still being built in Berlin in that year as well as fortepianos) Opus 7, published in 1797: “pour le Clavecin ou Piano-Forte” Opus 10, published in 1798: “pour le Clavecin ou Piano Forte” Opus 11, published in 1798: “pour le Piano-Forte avec un Clarinette ou Violon, et Violoncelle” Opus 12 (violin and piano), published in 1798-99: “Per il Clavicembalo o Forte-Piano) Opus 13 sonata, published in 1799: “Pour le Clavecin ou Piano-Forte” (contains, Grande Sonate Pathetique Op. 13) Opus 14 sonatas, published in 1799: “pour le Piano-Forte” Opus 15 (1st Concerto), published in 1801: “pour le Forte-Piano” Opus 16 wind quintet, published in 1801: “pour le Forte-Piano avec …” Opus 17 horn sonata, published in 1801: “pour le Forte-Piano avec …” Opus 19 (2nd Concerto), published in 1801: “pour le Pianoforte” Opus 22 sonata, published in 1802: “pour le Piano Forte” Opus 23-24 violin sonatas, published in 1801: pour le Piano Forte avec …” Opus 26 sonata, published in 1802: “pour le Clavecin ou Forte-Piano” Opus 27 sonatas, published in 1802: “per il Clavicembalo o Piano-Forte” (contains Moonlight” Sonata) By Beethoven's Opus 28 sonata publication in 1802 the inclusion of the of the harpsichord was dropped by publishers and afterwards only “pour le Pianoforte” was in the title.

His is terrible

David Carslake That's why I signed up for KZfaq Red, buddy. Those interruptions are a thing of the past

I fucking hate that! Greedy ad whores

Cool story bro

C'mon. At least provide better explanations like the profile "Beethoven was a bad melodist" does. Or we'll get bored.

yikes

@@LachlanTyrrell2003 At least the anti Beethoven guy has some knowledge in both musical composition and musical history. He just manipulates them in despicable ways to make Beethoven look bad.

Thanks god you got only one like . it could be a second account that YOU created bc nobody agrees with you ? I really think so.