How do you get to do that?

Yes very mozartian indeed.

And I thought only Papageno was fluffy..

Hard to say. Bach did it too.

I think it's because the range of the keyboard instruments then is only between F1 and f1 which is overall lower compare to the modern piano. So the composers also composes on the soprano clef which its pitch is a third lower than the treble clef.There's no need to write many high notes and it will be easier to compose on a lower clef.

Probably didnt want to write too many extra ledger lines and make it messy, the melody has a high register here

@@yyjj841 on the contrary. If you use soprano clef you have to use more extra lines in the upper register. The soprano clef is actually lower than the treble clef, so that's not the answer

Brian Billion I'm fortepianist too, che ornamentations of the repetition is a normal things on that instrument..

Overplayed? Seems you have bias against music that is popular. This is often a symptom of snobbery.

@@elias7748 LOL

????

Andante used to be faster at Mozart's time. It's actually played the way it should be. Lang Lang is a fabulous pianist but massacred this sonata.

The slightly faster tempo is perfect for the fortepiano. The tone of the fortepiano is sparkly and clear enough that there is no need to slow the tempo down to make anything “clear”like you have to on a modern piano. You should be able to sing each phrase of the melody in one breath (it even says Andante cantabile - “walking pace” and “singing”, which means… not slow). You can’t do that at the much slower tempos that many modern pianists take.

Eason Xiao traditionally, the fortepiano is tuned to a lower pitch, A=430 instead of 440

Thanks

Thank you for explaining. I was wondering why it sounded a bit flat.

It is quite extraordinary that where we have Mozart's own embellishments they sound so natural, but so difficult for performers to add their own in the same way.

@@martinbennett2228 I tend to agree. I will say, however, that Malcolm Bilson embellishes with taste and style.

Mozart embellished beyond the score just like anyone else during his time.

The fortepiano is actually capable of much more subtle phrasing at quicker tempos than the modern piano. The action is incredibly sensitive, incredibly light, and the tone quality is more “speech-like” than a modern piano. Which means it is much, much easier for a fortepiano to do subtle inflections and articulations without massive effort on the player’s part. Where a modern pianist needs to lift the fingers completely off a modern piano keyboard to play short, two-note slurs for example, a fortepianist simply uses a tiny flick of the fingertip to barely clear the keys and allow the dampers inside the instrument to stop the sound for a split second - and there is your slur, perfectly inflected and executed. There is no need to drastically slow tempos down on a fortepiano to “allow” for more subtlety. The instrument doesn’t need that extra help. In fact, slow it down too much and you will run into the problem of losing longer singing lines because the instrument does not sustain for as long as a modern piano does. Fortepianos were made for speech-like inflections and subtleties, whereas the modern piano is made to always sing instead of inflecting anything. Mozart knew how to write for his instrument.

@@musicyh ... but Mozart's pianos did not have double escapement. Also, as for harpsichords and clavichords, each note needs a little more space to sound. Obviously so long as it is not with repeated notes, it is possible to play very quickly, but the line gets blurred (which you might want occasionally). For Mozart, one useful guide is the detail in the articulation.

Please refer to Robert Levin: Improvising Mozart. This lecture is very informative.

It’s called ornamentation you twit!

@@danielbillingsley74 Good when it works (but it hardly ever does).

Martin Bennett you’re an idiot. “Hardly ever does”. What an ill-informed and douchey thing to say.

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