Mozart/Grieg - Piano Sonata No. 14, K.457 (1784/c. 1877) arr. for 2 pianos
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- Опубликовано: 15 май 2024
- Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era.
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Piano Sonata No. 14 in C minor, K.457 (Vienna, 1784)
Dedication: Therese von Trattner
arranged for 2 Pianos by Edvard Grieg, E.G. 113, No. 2 (1876-77)
to John Paulson (1851-1924)
I. Allegro (0:00)
II. Adagio (8:27)
III. Molto allegro (16:35)
Heide Goertz & Tina Margareta Nilssen, piano
The title page of the first publication of the C minor Sonata bears a dedication to Therese von Trattner, who was a pupil of Mozart's and the wife of Johann von Trattner, a printer and publisher who was also Mozart's landlord at the time the works were composed. As usual with Mozart's relatively few minor-mode works, the C minor sonata is a highly personal work. But here the mood is not one of storminess or tragedy, as in his G minor works, but of high drama in the operatic sense. The mood of noble suffering in the central E flat Adagio has, for example, been viewed by at least one commentator as music that appears to be a direct precursor of that Mozart was to write for the Countess in Le nozze di Figaro, while the final Allegro assai is a movement in intense dramatic agitation that looks forward to the Romantics, most immediately to the "Pathétique" sonata of Beethoven.
When Grieg added an accompaniment for a second piano to Mozart’s keyboard sonatas, he did it primarily with teaching in mind. It was apparently common practice in the 1880s for teachers to accompany their pupils on a second piano (my own teacher was still perpetuating the custom 80 years on). But the resulting compositions soon found their way into the concert-hall where, according to Grieg, “the whole thing sounded surprisingly good”.
And so it does today. In trying to “impart to several of Mozart’s sonatas a tonal effect appealing to our modern ears” Grieg left a telling little document or two on just what those late nineteenth-century Norwegian ears expected. 
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Isn’t it a great perspective to understand Mozart from a romantic’s view? What a beautiful piece
I played this Mozart sonata as a student, and I like this arrangement tremendously -- I may have to get back in practice and find someone willing to play Grieg's portion!
I always enjoyed playing these with people. It was never hard to find pianists who had K.545 and this in their fingers. Very sweet and respectful arrangements.
I wonder how many people today can claim their great grandmother or grandfather played this with Grieg when they were studying with him?
Maybe one or two people in Norway?
The only thing, I can claim is, that I was VERY surprised, when My Heritage wrote, that Grieg is my 9th cousin 5 times away. I knew, that I had a tiny amount of norwegian family, - but Edvard Munch is there too! Same grade of connection as Grieg.😯 Not sad - just interesting!
Interesting, it sounds like a piano concerto now, he should have orchestrated it. Thanks for sharing.
This is great! Loved Grieg's arrangement for the Sonata Facile, and I love this too. It is so incredible how much of a texture change this sonata can get and yet is still unmistakable!
10:15 ooh nice jazzy second voice
What?
Very nice. ❤
Thanks for this video. Nice arrangement by Grieg. Appreciate you posting this. 🙏
Non capisco perché i supporters di Mozart debbano tanto arrabbiarsi. Anche Mozart modificava a modo suo la musica dei suoi predecessori. Grieg, magistralmente, lo ha fatto con lui. Era una pratica normale.
Tolle Sendung, danke
I always think that Beethoven's Choral Fantasy Op.80 is by some means the "perfect ending" or "comeback finale" disigned to follow (while paying tribute to) Mozart's K475 and K457, hence the mysterious instance of "Finale" in the Beethoven piece. (I know the fact that it is functionally the finale of the famous debut of multiple famous pieces, but this maybe an explanation more than that. ) The Beethoven piece is almost continuing from right where the Mozart piece has left off (a tragic c minor ending uncommon in Mozart's era). When performed in this order, it gives me the sence of a "True Beethoven's 9th Symphony demo", with most part by piano other than by orchestra (the whole Mozart K475, K457 and the start of the Beethoven piece). The moment horns finaly blow the C major chord with E natural on top makes me more emotional if proceded with the Mozart pieces.
Wunderschöne Interpretation dieser perfekt komponierten und fein arrangierten Klaviersonate im veränderlichen Tempo mit klaren doch warmherzigen Klänge beider perfekt entsprechenden Klaviere. Der zweite Satz klingt besonders schön und echt lyrisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Wahrlich hörenswert!
Could 5:38 be a nod to the 3rd movement of Beethoven's 3rd piano concerto ? The second pianos part rings a very familiar bell...
Very interesting, thanks for sharing!
Sounds like the Rondo theme, yes. Good catch!
Definitely. That concerto -and that theme in particular- was so damn popular at the time that makes it impossible to not be a reference.
I also sense the Ludwig in Edvard's version
Call me crazy BUT I prefer these Grieg versions to the original Mozart ones.
surprising
I wonder what the other sonatas would sound like if Grieg had arranged them🥲
I am so orchestrating this arrangement for a classical symphony orchestra lol
Красиво, но оригинальная версия сонаты для фортепиано Моцарта все равно в сто раз лучше
I usually like Grieg. This however seems a bit macabre - interesting, nonethless
The addition is expertly done, while leaving the original text intact. Much better listening than the grotesque remakes of Bach by Brahms, Busoni and others. A still better achievement would be to compose a second piano score that stands on itself. The 15th century polyphonists could do sth like that.
I wonder what all the disapproving commenters think of Liszt's Wanderer...
You will find naysayers under any video. Any musical style, any composer or performers. One of the greatest arguments I have seen on my channel was under a Perotin(!!!) 12th Century Organum video. Go figure! Nothing is sacred.
Where´s Grieg?
Some of Grieg's parts are phenomenal additions and some are downright atrocious to the point of the piece.
"Perché la musica è un linguaggio universale che unisce tutti i popoli" poi arriva Grieg che aggiunge (magistralmente) un secondo pianoforte alle sonate per piano solo di Mozart e a momenti si scatena l'inferno! 😂😂😂
Who is this Mozart who dared to add a piano part to Grieg's work? 😂😂😂 (It's sarcasm...)
Is that a Grieg's joke ?
The second piano is completely unnecessary and distracts from the piece itself more than it adds. Don’t know why Grieg felt the need to do this. Utterly pointless arrangement
It's a good arrangement
Grieg had the respect and good sense to leave the original text completely intact. The arrangement is expertly done.I like this much better than the grotesque adaptations of f.i. Bach by Brahms and Busoni. In your logic all baroque paintings and sculptures should be removed from Romanesque and Gothic cathedrals ,being additions to the original buildings.
It is an excellent arrangement. I played these Sonatas with a friend back when I was in College. It was great fun, especially when our teacher walked in and was amazed about the arrangements as he didn't know them! That was Gerard van Blerk.
And here we go again! 😂
It's a bit overcooked but the original always exists.
Omg, that is awful
Wonder what the 300 thumbs up are about? Only posted yesterday. So far these have been one of my best running videos, that's how awful it is.
@@bartjebartmans Grieg's version of this work is totally excruciating, but I think people (including me) are happy to discover that, regardless of whether it sucks. Thank you nevertheless for the upload, buddy
Grieg’s rearrangement was good, but Sir, your comment was god awful!