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 Post subject: Bach and Mozart
PostPosted: Sat Sep 11, 2010 8:34 pm 
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Joined: Thu Aug 28, 2008 7:15 pm
Posts: 45
Location: Leipzig, Germany
This is the Mozart Fantasy in c minor, and the c minor prelude and fugue by Bach from the second book of the Well-Tempered Klavier.

Bach - BWV 871 - Das Wolhtemperierte Clavier II - Prelude and Fugue No.2 in C minor (3:56)
Mozart - KV 475 - Fantasy in C minor (11:31)


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 Post subject: Re: Bach and Mozart
PostPosted: Sun Sep 12, 2010 8:51 am 
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Joined: Mon Jun 12, 2006 11:45 am
Posts: 9572
Location: Netherlands
Hi Sarara,
To make life easier on the admins, and comply with site practices, can you please

1) Provide KV and BWV numbers
2) Submit the Bach prelude and fugue as one track

Thanks !

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 Post subject: Re: Bach and Mozart
PostPosted: Sun Sep 12, 2010 7:01 pm 
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Joined: Thu Aug 28, 2008 7:15 pm
Posts: 45
Location: Leipzig, Germany
Hi Chris,

Sorry for not providing the necessary information!
Mozart c minor Fantasy: K. 475
Bach Prelude and Fugue in c minor (Book II): BVW 871.

The Bach is now in one track, and I've uploaded the Mozart here again, so that it is all in one reply.
Thank you!

Sarara


Bach - BWV 871 - Das Wolhtemperierte Clavier II - Prelude and Fugue No.2 in C minor (3:56)
Mozart - KV 475 - Fantasy in C minor (11:31)


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 Post subject: Re: Bach and Mozart
PostPosted: Sun Sep 12, 2010 9:22 pm 
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Joined: Mon Jun 12, 2006 11:45 am
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Location: Netherlands
Thanks, that is better :D
Great playing once again. As an amateur I am not qualified to criticize playing of this high level.
But some remarks on the Bach fugue. I like picking others' fugues apart, and I except them to do the same to me :D

In bar 15, second half, you play B flat twice which should be B natural (I refer to Henle Urtext).
In bars 19-21, I hardly hear the augmented subject in the bass. Generally, the voicing (though mostly sufficient) could be a bit more pronounced.
And I don't like the inverted arpeggio on the last chord - but that is purely personal.
The prelude could have a bit more poetry, it sounds just a little dogged.

Apart from these little niggles, very good recordings, especially the Mozart. They are up on the site (please check if all is ok).

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 Post subject: Re: Bach and Mozart
PostPosted: Mon Sep 13, 2010 5:59 am 
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Joined: Thu Aug 28, 2008 7:15 pm
Posts: 45
Location: Leipzig, Germany
Hi Chris,

Thank you again for the uploads! I also thought that in general, I could have brought out the bass much more, and the prelude could be played with more freedom or with a forward motion-- so thanks for the thoughtful comments. I don't mean it as an excuse, but this recording was from a live performance, and there is always a danger (for me) to play Bach in public with more caution than usual.... undoubtedly because I'm concerned with unexpected memory slips. :? Something I should work on getting used to, if possible!
All the pieces seem to be uploaded. Thanks for taking in so many pieces this time all at once!


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 Post subject: Re: Bach and Mozart
PostPosted: Sat Sep 18, 2010 7:25 pm 
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Joined: Sat Jun 27, 2009 3:32 pm
Posts: 499
Location: Connecticut, USA
I listened to the Mozart fantasy.


Very slick, fluid playing, especially in the Allegro sections. To be perfectly frank, however, that's where my admiration ends. To my ears, the adagio sections sound rather lugubriously slow, ponderous, and rhythmically constipated. Adagio to me is not indicative of a snail's pace. There are many rushings and tempo inconsistencies and strange, straining hesitations at the tops of phrases, particularly in the middle D major section. In this section, there are also some uncalled-for staccati on the chords. In addition, the dotted ryhthms and thirty-seconds are often not held long enough, notably in the Andantino section (and in the D major section, one instance of a sixty-fourth rhythm that is played as a thirty-second).

The fast sections, while fluid and legato, lack bite, clarity, and precision, notably the descending triplets into the ad libitum passage that cascades into the Andantino. In that first allegro section, which by definition doesn't need to be exactly in time, I'm not sure why you double the passage in the hands and don't play the octaves as indicated, which, despite the chord in the lefthand, seem to be purposely arranged that way for dramatic purposes, and the ascending chromatic scale, written in small sixty-fourths, is therefore too slow by comparison. The piu allegro section is way too fast and gushing forward to my ears. Since it is in relation to the Andantino sections, it should merely be faster, not prestissimo. The ending, particularly the very end, like the beginning, sounds far too labored, slow, and overly heavy. Some good phrasing, but the overall effect seems heavy, strained and constantly rushing forward and holding back by turns.

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