Wanda Landowska plays Mozart Sonata KV 332 in F major (1938 rec.)
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- Опубликовано: 29 окт 2012
- Wanda Alexandra Landowska (1879-1959) plays Mozart's Sonata KV 332 (300k) in F major
1. Allegro
2. Adagio at 11:12
3. Allegro assai at 16:23
Recorded on a Pleyel piano in 1938 
Видеоклипы
The secret in Landowska's playing is the joy that she has for music and she is able to communicate it through the instrument. I've watch many of her video's and the magic is always there.
This kind of clarity of sound is rarely found in performers nowadays.
I am not a pianist, only a music lover. Every note of this delighted my ears.
What wonderful playing - so clean and well articulated. The Pleyel has such a wonderful tone - it often seems to be forgotten what incredible piano Pleyel was building in the early 20th century.
On 1840,Pleyel and Erard were in the market.
Such graceful, unhurried, beautiful, playing.
I studied this sonata as a teenager but never understood the inner workings of the music. Landowska's performance is a true revelation. The piece takes on a beauty and coherence which only she was able to convey. See my comments on K576 and K311
For me, this is one of the best of Mozart sonatas, maybe his finest hour. No other composer of his time was able to create something of such an artistic level. The second movement, has an otherworld quality that is impossible to describe with words. Wanda Ladowska's exquisite interpretation brings to life all the treasures of this master piece.
I love her Tempo. Beautiful sounds of Mozart.
My goodness!! This was the first Mozart sonata I played, and, as such, it is still very special to me,and possibly my favorite of his sonatas because of that.
I have never heard the first movement played this slowly, and it has never occurred to me to play it that way, myself.
But this is a revelation to me. This was so elegant, charming, and profound. I may have to completely re-think my conception of the piece.
Thanks much, Erwin. ☺
Have you ever heard Wim winters playing it ?
Another splendid performance!!!! She is really great on either harpsichord or piano!!!!
Very unique. Marvellous. I played this Sonata this year and I really missed a record like this here. A romantic touch usually is not my type interpretating Mozart but Landowska did know how to connect these opposites.
exquisite playing...........and an expert 78rpm digital remastering.
Speaking of Historically Informed Performance, Landowska did it all more than a half-century ago - free embellishments, flexible tempo, correctly played ornaments and so on. It was fascinating to find out that at least some of the charm of her playing is due to the Pleyel she is performing on.
Utterly satisfying Mozart! So beautiful and so unforced.
This recording is so good and beautiful. I love listening to 🎹
How wonderful to have this!
Love how she steers clear of overemphasizing the harmonic contrasts in the Allegro, which many are tempted to do
Your language seems best suited to a critique of, say, Smash Mouth rather than Landowska's performance, some elements of which do seem incongruous to the contemporary sensibility. Having played this sonata, however, and listened to countless performances, I find her choices illuminating. I'm seeing familiar music in a new light, which is what I'm looking for in a performance these days.
On the one hand, I don't pretend to know what Mozart would have done; on the other, I wouldn't risk questioning Landowska's musicological chops. She plays this way not because she is unaware of stylistic constrains; her performance is the result of profound knowledge and deliberate consideration. Frankly, I'm more interested in how she interpreted this music than how you do.
Wanda's timing on the exposition is close to 30 seconds longer than anyone else.
punkpoetry
punkpoetry
So beautiful, so touching in a simple way. I can feel that only music in her heart. Nothing else ❤️
Landowska performed in such a way that listeners felt she was divulging confidences directly to them -- letting you in on her many fascinating secrets. Literally every note, every motif, every phrase and nuance of this sonata is infused with her unique understanding of what Mozart either must -- or may -- have been trying to say. Whatever Landoswka played she made uniquely her own, but one never feels the composer was in any way betrayed -- only revealed in greater glory.
Beautiful words. I completly agree :)
AGREE !
Hyramess Hiramess When I heard @ college music class in '68, ... there was no else like that.
Hyramess dear, you are such a mediocre idiot, much worse if you are musician, i am not (a musician, idiot maybe), there is no any mark of style in Landowska playing this sonata, thought I love her to the grave, listen to her all work and have all her harpsichord recordings, some LP not to have you dilettantes get a bit of it haha, but yes this sonata Lalndowska should have not published at all.
She never hurries a phrase. She puts her soul in every passage.
なんてアンティークでロマンティックな演奏だろう。音符に優しい心がこもっていて、何となく弾いているところが全くない。どういう音楽なのかはっきりと伝わってくる。
Extraordinaire ! Quelle musicienne ! Merci
I would also have had some critical statements, but ~ I would like to agree with "alanjknig" ... "how wonderful to have this"! Thank you for sharing it. And yes ~ the sound of the Pleyel piano is absolutely wonderful :o)
Beautiful and elegant touch in piano or in harpsichord.She had all the time to play and feel what she played.
Landowska absolutely defines the best way (if not the only way) to perform Mozart. There's so much melody and elegance in this sonata that I never sensed nor found even while I was studying it in my student and younger days. Most of us would just clang away at the piano just to get it done with and show our teachers we did our homework. I realise now what a total wreck I had made of it.
The Pleyel does sound warmer than Bosendorfer and I wouldn't even compare them to Steinway nor Yamaha.
Bosendorfer is not for Mozart.Playel,Graf,Beckstein,german Stenways.
I agree, Horace. A Walter or a Stein is best. But Landowska did play this sonata very nicely. She obviously loved it and enjoyed playing it.
It's all what you draw out of the instrument.
This performance is good and has no habit.Beautiful sound by sound.I feel this player respect for sound.
Most contemporary pianists could learn a lot from her, and she a harpsichordist! I don't think the great Schnabel bettered this. Thanks to pianopera for a rare treasure.
Wow ! if this is RUBATO I want MORE from every pianist I've ever heard .
Exceptional!!!
To me this is the ideal speed !
Yes sir !!!.
lovely!
I love the clarity and precision of the fingerwork in the third movement and am intrigued by the 'romantic' approach to the second movement. However, I would prefer the first movement to move a bit more. The Pleyel sounds really lovely!
why are the old recordings more touching? i enjoy very much special the second movement
Alphonse Sauer
Туше неземное
The little woman was a giant. We will not see her kind again.
A "giant" like mother earth. Yes, she is wonderful and unique.Opens a new world/dimension for my ears.
So many people interpret the second movement like this but I feel like she was the first one to do it.
Her playing is warmer than anyone else's.
It's the first time I listen to her playing the piano. I only knew she was pianist besides harpsichordist when I read Norbert Dufourcq's "Le Clavecin".
Lovely. How sad that Pleyel went out of business late last year after 200 years.
I agree
Does anyone know when this Landowska recoding became available? It used to be believed that masters of all the Mozart piano sonata recordings she made in 1938 were destroyed during WW 2 except for K 576. - John Austin, Australia
W O N D E R F U L!!!
what is wonderful, calm playing, soft dynamics, fluid music that continues like perpetuum mobile so you can lit candles and blue shades to make your ambiance more comfortable.... all first and second movement are fluff or BS, it is not Mozart at all!
Nice tempo❤
The photo shows definitely that she was double-jointed or at least an unusual range of motion in raising her fingers, which seems essential to her technique, as it allows the fingers to drop straight down all the way into the keys of any instruments. Interestingly, Jose Iturbi had the same facility.
I think her interpretation here is fairly modern, as there is little rubato, rhythmic expression, and she is not breaking the chords.
Incredible
Ethel Leginska sometimes pointed up Landowska to students as how NOT to play the piano. She mentioned W.L.'s "spider-like fingers" not being conducive to quality tone - was all right for the Harpsichord (look at the photo, above, of Landowska's left hand). However, the wrist is vitally important for creating a beautiful tone. Of course, there is clarity in playing that way. And Landowska uses a deft dynamic range through finger pressure, yet, with the fingers performing from such a height lessens quality of tone. Leginska was known in her teaching for carrying on the tradition of Leschetizky - while lending many ideas of her own. Her 'legato' was explained as a 'wheel' - smoothly rolling over the keys. She taught new students (did not take beginners) to play with a 'half-time' overlap between notes of a scale (in slow tempo). She did not stress slow playing of music in practice. Two differing opinions might 'hack away' at each other, totally without resolve or agreement. "To each, his own" (or "her own").
Plenty of beauty in Landowska's tone if you ask me...
僕の好きな敬愛するピアニスト。福田恆存が1年近くアメリカに住んでいたとき小人数でランドフスカノ演奏を身近に聴いたときの集中力の美しい顔がわすれられないと、僕に語って下さったことが今から三十年近く前にあった。
stunning articulation. maybe she was an even greater pianist than harpsichordist
Wanda Landowska wspaniała Niezapomniana klawesynistka
ausgezeichnete Tonqualität für 1938 (!). kein Grundrauschen, keine sonstigen Störgeräusche. erstaunlich. ich kenne allerdings eine Bach-Aufnahme von 1940 mit Lipatti, die technisch genauso gut ist. Mozart wäre entzückt über das Spiel, welches nicht versucht, individuelle Eigenheiten zu entwickeln, sondern sich konsequent an der Musik des Komponisten orientiert. Hoffentlich ist noch mehr von dieser Interpretin erhalten.
Sputnik, mi amor.... Ese Haruki siempre enseñandome algo nuevo xD
Es buena la interpretación.
I have never heard this sonata played at such a leisurely pace. Such expression! It validates my frustration upon hearing music played too fast, which is much too often. I bet this recording is the closest to how Mozart himself played it.
nikster Like nobody else!
This is the natural tempo for the sonata. I think that her playing of the harpsichord helps her performance. On a harpsichord too fast can end up sounding messy and the lack of dynamics means a lot of attention must be given to the phrasing. Wanda Landowska is also a wonderful musician.
This piece was composed after his mums death in Paris in 1778
That’s what I’m talkin about - treat this glorious music like it’s alive, with creativity. Haydn more than any other is fun, balance, joyfulness- even his minor key pieces sound happy - like the Cm
Piano Sonata-- just sayin
Mozart asked for ALLEGRO !!!
悠悠閑閑。
I love Landowska, period, but this is kind of understatement first subject for me, it should be sort of young man love statement to love, drama, lots of drama all strong expressions... definitely not her best, still love her a lot!
Spiritless and soporific playing. That this somehow "emulates" 18th century sensibility is no excuse......
I grew up thinking Landowska 's spirited way in Mozart concerto no.26 was ideal .But her sonatas show a very deficient Mozart like ARRAU ! . Hear spiritual depth of Pires , Habler,Perahia, amazing Schiff , the perfection of Uchida . Has Brendel given us any Mozart solo sonatas . I dont ever want to hear Backhaus or Edwin Fischer . what lies i read as a child ! thee is obviously a conspiracy with record companies as there is in competetions with teacher- power
No
The Allegro assai is her most tasteful judgements here. Very dissatisfied with much of her characterizations mostly ! This is not sensitive piano playing. I've heard spirited playing from W.L. Her coronation concerto recorded around the same time I grew up with as a child. Now I find it remarkable that this kind of Mozart playing was ever accepted. I'd like to hear Arrau in the 20s or Edwin Fischer anyone really. Uchida as simply a musician is light-years ahead of this. Talk to any real pianist who knows his instrument and they won't be impressed with many rec made before 1970.Cortot and Lhevinne pupils excepted. Mine studied with Ethel Leginska and did not marvel even at Godowsky Chopin 2nd sonata or much I lent her. Hofmann was special. Rach had poor style in servicing other composers. His Bach partitA is evidence.
You write as if you have Aspergers.
Lacks rhythmic snap and character- mood shifts, drama, humor and playfulness. Needs more theatre really.
This worship over her "unique understanding" reeks of fanaticism and insupportable lawyer talk.
Totally agree with you and I listen with a grateful heart and awareness that she may know something I don't🎉❤
Sluggish. Crude. Boring.