I played it through on the piano but found that a c# doesn't resolve anything. It was a disappointing effect.

@@citizent6999 If you only played G-B-D, sure, of course it has no tendency to resolve, because you play it like you're in G major. In G major, this note D is perfectly stable and has no desire to resolve into C#. But, remember, in this context here, we are in F# minor. You have to play from the beginning of the movement, not just jump into this measure. It is the context that makes it require resolution.

@@citizent6999 a very disappointing D then?

@@JonathanDavis7 D will often disappoint

That will NEVER happen...

has always been a favorite moment of mine as well. nice to now know how it works.

One of the most inspired Mozart passages!

Really? What did it taste like?

@@thomaspick4123 😂😂

@@thomaspick4123 in Romanian we do have a word "napolitană" which means "wafer" so, therefore, I did giggle, understandably. 😅🤭😁😜✌🏻🙌🏻😝👌🏻 Tasty. 😂🤣🤔☺️😌🙂😁

@@thomaspick4123 Neapolitan ice cream

I had the pleasure of hearing Levin play this live

But there isn't it in the original manuscript. Although it appears in NMA score for the first time.

I agree with both of those. That's why I hardly ever focus on roman numeral analysis, which often just leads to fruitless arguments about the several possible accurate ways of labeling something.

Like what, Lady Gaga? :D

@@vivvpprof I don't know much about Lady Gaga, but I'd say that Kendrick Lamar has produced some of the greatest music of the last few decades.

@@alexshih3747 I listened for a while to his "DNA" and it's basically re-worked folk music, e.g. kzfaq.info/get/bejne/m9Z7fKqCtNHRZZc.html

@@vivvpprof You're technically correct but that's a very reductive and simplistic view of hip-hop. It's like saying Chopin's mazurkas and polonaises are basically reworked Polish folk, that's right but it doesn't even begin to describe it, does it?

Makes it sound like organ!

Mozart sure loved his woodwinds, and the feeling is mutual! /A bassoonist

Another part that sounds similar can be found in the Overture to Cosi Fan Tutte

For me its the most beautiful part of a wonderful concerto.

I think you win!

Master Teacher, @@Richard.Atkinson - your approval made my day!

@@rabbibarrykornblau9877 As his daughter, I can attest to the fact that it made his day. He is quite proud of his achievement 🏆🏆😄

Nicely done--both the video and the analysis! So, the 2nd time (17:14) Mozart may have notated initially with flats but with the serendipitous move to the minor Neapolitan(!) saw an opportunity to move directly to VI (Am) by skipping the "middle man" V (G) thus deciding to use sharps, instead?

There're just Harmonic min b2 or Melodic min b2...or Enigmatic scales. Like the Double harmonic min or Harmonic min #4 or Loc Maj7, ion #6, dor #5, phry#4, lyd #3, mix #2, aeo#1 Aeo#1 transfer to (loc bb3, b4, bb7) oh..if you're familar with different scales..you'll be familar with variations of loc...loc bb7.. loc b4..loc maj6.. loc b4, bb7...ect..... Loc bb3, b4, bb7 or Loc maj7.lol.....why Not? Keys are just PITCH of the MAJOR scale ( Reference) There's different ways to keep track of the 10-ea scales aeo dor Harmonic min melodic min Harmonic min b2 melodic min b2 Harmonic min b5 melodic min b5 ( why not? :-P) Harmonic min #4 melodic min #4 Ion #6 ..... What if I list it like this? aeo maj7 Harmonic min dor maj7 melodic min phry maj7 Harmonic min b2 mix maj7 Ionian loc maj7 Ion #6 dor b2 maj7 dor #4 maj7 dor b5 maj7 aeo b2 maj7 aeo #4 maj7 aeo b5 maj7 ...................... dor b5 is the ii mode of Harmonic MAJOR mix b6, maj7 = Harmonic MAJOR mix b6 = V of Melodic min Aeo b5 is the iv mode of Melodic min Harmonic min b5 is the iii mode of HUNGARIAN MAJOR aeo#4 is the iv mode of Harmonic min b2 aeo #4, maj7 is AKA Hungarian minor. They had to call them something.. but I dont have a problem playing A min C dim into C# min I could had play A min B7 into E Major or E min ( A lydian b3 ( melodic min #4 = E Harmonic MAJOR) I could had play G#7 phrygian b4 ( 1, b4, 5, b7) into C# min.. But hey.. C dim into C# min....works. it's the same as playing G7....B dim/G into C Maj..or C min but the A lydian b3 is also a possible dim or full dim Bb maj or Augment to G min G harmonic , melodic min Just incase you wanna play the G Mix #2 (A# note instead of Bb) :-P Any ways....back to the C# min/E MAJOR C# min....D maj7 E7 F# min /A MAJOR C# min D dim E7 A harmonic min or A harmonic MAJOR C# min D7 E7 A Melodic min C# min D min E dim into F MAJOR or F min....sort like F melodic min C# min D maj E Maj F# dim into G MAJOR or G min Do you see the D7......F#dim/D into G MAJOR or G min ? Notice the D, E or F chords....how they relate back to C MAJOR/Amin....if i want to modulated back to A min After the E MAJOR or I could had easily played F dim into F# min/A MAJOR F dim, G# dim into A min. or F maj. Fdim#G maj G# dim into A....whatever .. it'll be sort of the same movement...if I did it between the A Natrual min/C Major A min BbMaj, B dim, C maj, C# into D min Then the same from Dmin/F Major D min, Eb maj E dim F Maj F# dim G Maj G# into A or the same from E min/G MAJOR G# dim/aug into A or play the G# Maj to D7 ( V of G Major) Then play Eb Maj( apply it again) to the C min chord. ( as lydian b3 to G Harmonic MAJOR) I can play C dim ( B7) D# dim into E min or D7 into the G MAJOR..again There's all kinds of cool stuff you can do. I could had easily play C Maj C# dim into D min, EbMaj to C min Then G min, F min, E7 into A min again... Notice the Db/C# is a Maj3 stack below the F min DIAD G# or Ab is WH or b3 from F lydian #2 ( A harmonic min) Lydian b3 ( C Harmonic MAJOR) it'll sound sort of like play F min G7 into C Maj... You'll see/hear the iv as min....from time to time... for Cadence...or flavoring I can even play the Bb Maj after the A min...then alter the A to A MAJOR. it'll be as if I play A Maj. Bb maj, C Maj D min ( typical spanished guitar or using the D Harmonic min..A7 into D min or C# augmented into the D min chord ( II V I) back to C MAJOR..again if I wanted to...Then alter the C to C7 into F min, E7 into A min again.lmao Or play the Db..stack over the F min E min A min...for cadence.lol Then Bb dim C# dim into D Min again...hahahaaaa

I’ve tried to make the case that in parts of Italy this wasn’t always the situation (for want of a better word).

"Ach, ich fühl's" is a break up aria, not a death aria.

Awesome suggestion, I'm glad it's now been realized!

Try and see and support other performers. A problem is the dominance of a few performers - Uchida, Ashkenazy etc that demand outrageous fees. To understand why this happens you need to understand the industry - which has tendencies towards monopolistic accumulation, like any other. It pays the major labels to have fewer artists and to promote them as 'great'. It allows them to avoid the higher risks and costs of promoting new and different artists. This convenient and self-serving arrangement keeps a certain hierarchy in place. For the health of music (and society) itself, it is a cycle that has to be broken.

You'll be pleased to know that I already started a video on that movement months ago. It's one of the few Mozart fugal movements I haven't already done a video about!

@@Richard.Atkinson Great to hear! I await it with eager anticipation.

Bryan Sturgeon He was born in 1756...

jbckk ok thanks the guys on radio bbc3 did a concert for him last week you better tell them they was wrong

jbckk nice one for the detail and maybe they played a study of his father so this would be the 300 year of that piece.

265 years

Yes, another good example!

And also near the end of the Queen of the Night aria in Act II

Interesting point of view. But I would say that the most similar thing to a Tsub at that time was the augmented sixth chord. Not just for its construction but also for its usage. It is a dominant chord and it's resolved half step down exactly like a V/V sub (Ab7 - G7 or Ab7-C/G-V7 if you wanna sound more mozart). In fact, the french augmented six chord has D in the Ab7 chord which is the #11 giving you the famous lydian b7 scale which is also the first scale any jazz musician would play over a Tsub. By the way Richard if you see this comment: a video explaining what scales mozart uses over the augmented sixth chord would be sooo interesting.

Well, I usually just avoid getting into it on things like a youtube comment thread, but actually this is an erroneous way to teach the N6. You frequently see it taught as a major triad built on the flat second scale degree, and this is totally wrong. The acoustic root of the N6, is in fact the fourth scale degree, which is why it is usually doubled. The flat second scale degree is functioning as a tendency tone, and is not at all functioning as the root. Much like how a cadential 6/4 is spelled like a I 6/4 but its in fact the V harmony, with two tendency tones, a similar thing is occurring here. Even in Rameau's treatise on Harmony, where,in 1722, the concept of chords having a root was first proposed, he made this distinction. The N6 is very much an alteration of the iv harmony. Having said that, your observation is still of course correct in that if you make it into a Dominant 7 chord it is the same pitch classes as a Tsub for the V. A similar constant misunderstanding related to the deceptive cadence, but that is a rant for another day lol. Anyway, that was my youtube comment quota for the year :)

Wonder if Stewart Macpherson "Melody and Harmony" (1920) is still in print - 100 years next year :) -