But no formal description can do justice to the poetical depth of this movement. (-) - !N/!N/!N - 544×⇩ - Larocque, Alto 4 0.0/10 The young artist was not only impressed by the remarkable interpretations he heard but more so by the evidence of the ethical power of music they provided - an aspect that he still emphasizes today.In 1945 Badura-Skoda entered the Vienna Conservatory. 0.0/10 10 *#301530 - 12.45MB - 6:37 -  Mozart’s sonatas are to me like a poem by Goethe: they simply exist and it is hard to believe that once they did. 10 (-) - V/V/V - 2734×⇩ - worov, PDF scanned by piano.ru THIRD MOVEMENT   The somber ethos of E flat is dispelled by a concertante Rondo finale in B flat, although this good-humoured movement does retain a touch of seriousness – a sufficiently weighty conclusion to this fine Sonata. The A major Sonata has always been one of Mozart’s best-loved works. 111 one senses an otherworldliness transcending normal musical expression. 6 Anyway, only the last sonata of the cycle appeared in print during Mozart’s lifetime, but this one, however, repeatedly. 2 Moli 242092. 0.0/10 16 'Facile', K. 545 Wolfgang Amadeus Mozart's Piano Sonata No. 6 6 -  THIRD MOVEMENT   An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. 6 -  FIRST MOVEMENT   As in so many works of his last years in Vienna, this Sonata features subtle contrapuntal interplay of deceptively simple material. THIRD MOVEMENT   A scintillating virtuoso Presto concludes this Sonata. (-) - !N/!N/!N - 2303×⇩ - MP3 - QuinnMason, III. Having been kept in a mansion ever since it was built (ca. 8 THIRD MOVEMENT   The final movement is one of Mozart’s hunting rondos in six-eight meter, so often found in his piano concertos. 8 2 16 in C major, K. 545, is a piece in three movements. (-) - !N/!N/!N - 91×⇩ - Rainer Lewalter, Cellos Mozart may originally have devised this as a four movement sonata, in line with his string quartets and symphonies, in which case the fragmentary Minuet K. 355 (594a), the chromaticism and polyphony of which is closely related to this Sonata, was probably intended as the third movement. In the development, the theme enters in new canonic imitations, first a measure apart (measures 63 64), later only half a measure (m. 70), leading to an impressive climax with a modulation to F sharp major (m. 77 f.), and a return through the minor keys (F sharp minor, bar 83; B and E minor). 6 In these words the great Mozart interpreter Edwin Fischer expressed an essential message: every note Mozart wrote is a reflection of his character – affectionate, sensitive and yet at the same time powerful and virile, abounding both of inspiration and an early acquired masterly control comparable in some ways only with that of Johann-Sebastian Bach. 2 For, if so many good musicians continue even now to prefer the round, comparatively even sonority of the modern piano, the reason is that only in a few cases is a historical instrument in sufficiently good condition to meet the strict artistic requirements of a Mozart Fantasy or a Haydn Sonata. 4 *#491813 - 0.65MB, 5 pp. In reality his works are the result of relentless learning and not little toil. (-) - !N/!N/!N - 119×⇩ - Rainer Lewalter, Bassoon -  The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions   a favourite harmonic formula of the baroque and classical periods. *#491818 - 0.76MB, 5 pp. In a letter of 1789 Mozart told his creditor Puchberg that he intended to write six simple sonatas for Princess Frederica of Prussia in order to raise some money. SECOND MOVEMENT   The second movement of this sonata is an introspective Andante un poco adagio. (-) - !N/!N/!N - 43346×⇩ - RSB, II. This is not so in the introspective Adagio in E flat major. The first subject is a distinctive, marcato opening followed by a five-bar response. It is one of the finest creations of the whole cycle. 10 *#301531 - 2.90MB - 1:32 -  2 8 4 0.0/10 It proves that Mozart must have been the best pianist of his time. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart’s meticulous dynamic markings. 8 No-one who has heard him speak about music with warmth and perception in his soft Viennese voice, can ever forget it.In 1949 Wilhelm Furtwängler and Herbert von Karajan became aware of Badura-Skoda's outstanding talent. The clarity and lightness of Mozart’s creations led generations of music-lovers to the erroneous opinion that he composed his works without any effort, “as the bird sings”. 20 and his Sonata op. *#86760 - 1.32MB, 15 pp. THIRD MOVEMENT   The finale of the Sonata, a Presto in three-eight metre, restores the joyful mood of the opening. 4 SECOND MOVEMENT   In contrast to this slow movement, the next one is a lively minuet with a relatively long trio section (labeled Menuett II), which clearly draws on Austrian dance traditions.

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