he was seventeen.... I would not agree that he was at his finest.

@@Sh.moon. Maybe not finest, but pretty darn good!

Not at his finest but ok

i know Im asking the wrong place but does someone know of a way to log back into an Instagram account?? I was stupid forgot my account password. I would love any help you can offer me.

@Robert Kamari Instablaster :)

Köszönöm az értékelést

Na. Tök jó itt van egy magyar! Te amúgy Zenész vagy?

Jaj de jó találkozni magyar emberekkel.

What part is ridiculously hard?

@@georgesalafatinos4301 Wow, thank you for replying to this, I had been trying to find this video again because somehow I lost it. This reply just saved me.

@Cave Player Okay answer the q then ?

Kingsley Amis

Bach was definitely NOT a fan of Mozart's music, in any way shape or form. when someone asked Bach to name a piece by Mozart that he liked, Bach gave no reply

Brian Bernstein which Bach? Johann Sebastian Bach was in the ground 6 years before Mozart was born

@@timothythorne9464 smh. yes, that was the joke

Basically this generation

José Daniel Bazán Manzano it's incredibly adventurous harmonically, and yet everything sounds so fitting and natural

Less skilful composers would have ended the piece on a Picardy third. To Mozart's credit he avoided that pitfall.

@Rana / Soren Mahmood / Rima that's not the point. The motif is just very similar.

@Ron A lot of early Beethoven motifs are copped from Mozart, and yes it's a Mannheim skyrocket. Beethoven's 2nd piano concerto begins with a reversed Mannheim rocket.

@Ron Beethoven had been a student of Mozart if I remember.

@@dungdt3433 Beethoven just met Mozart. He had never been his student

It's actually stolen by Mozart. But I think it was common practice by classical composers to take other composers' themes.

thank you

Why?

I didn't even know that appoggiaturas existed before seeing this comment, but after some research, I think the ones that appear in this score are considered grace notes because they don't have a slur between them and the principal note.

I think it sounds better that way because the complimentary melody in the strings afterward is on beat and doesn't have them. It sounds awkward and unintended imo when they sound different.

In what world does midi sound better than a real orchestra?

This is a recording from a real orchestra playing. You can watch the performance in this link kzfaq.info/get/bejne/bZZnoqt2rKyanGw.html It was mentioned in the description. Enjoy the video 😊

@@hidayahsophian7947 Thanks! I'd say something about the description, but to be honest I didn't even remember this message.

It means that there are two of that instrument playing the written line

0:03 ,

No. They are farting at how bad this interpretation is.

Yes. I agree

They kind of smother the strings at 10:00 don't they?

too nervous

@@0Videoteca0 I enjoy it precisely because it is so expressive/nervous. It is not true that Mozart is music for plants to grow to. The "beautiful" classical music never existed, it was always revolutionary, unsettling, disturbing, for its time. This performance has more truth to it than most.

@@nandoflorestan I'm not so sure about what you say (that it has to be nervous). But I admire the critical approach that you have about this subject and I share your opinion about the fact that Mozart's music (as most of the music of the past) is concieved today differently than it was at its time. Thank you for your comment :)

@@nandoflorestan that' s true there is a lot of drama in it, but I also don' t like some aspects of this performance - like nearly omitting the ornaments in the second theme of the first movement and especially the F before the Eflat (maybe because I am used to other performance where they are treated as equal eight notes) ao the highest note, the F, gets lost. Also, about the tempo - while I agree there should be nervousness and drama and anger, I think that the Menuet must be slower. This nerve does not suit it. Such Menuets even sound more menacingly when performed at a slower tempo

This performance is certainly more experimental than most! However, I personally wouldn't call it sacrilege. Firstly: Mozart, like the majority of composers, would surely have felt that some elements of performance would have been obvious to performers of his time and therefore need not have explicitly written them. Some of those implicit techniques, although obvious to the late 18th century performer, may not be common knowledge to 20th or 21st century performers. Furthermore, over the intervening centuries, new performance practices and traditions have arisen which have influenced what listeners of today expect from certain periods, styles, and even individual compositions. Secondly: as reasonable as it may be to take the Urtext as gospel - and I applaud referring to Urtext editions to inform performances - there is nonetheless something to be said in support of experimentation, of "making an old song new", of injecting a bit of imagination and "what if" into old classics. The public may find the experiment effective, they may not not, or (as in this case) their opinion of it may be divided. Such is the risk of art.

You said “sacrilegious.” Is that a TwoSet Violin reference? 😂

The notes are there in the manuscript, is the job of the conductor to perform it at his vision No interpretation is better or bad They are as i said *Interpretations* These are 250 yr old works. God knows how it was played.

I have a PhD in music and my thesis was on Mozart. He would give zero shits about your pedantic opinion and love the bold, experimental vision of this interpretation. He hated pendants! His score markings are descriptive not prescriptive.