"You have to give the feeling that you are playing like in an opera" Michel Dalberto
About the Piano class of Wolfgang Amadeus Mozart's work on the Sonata_No.18_in_D_major K.576
Master class de Piano, Wolfgang Amadeus Mozart | Sonata_No.18_en_Ré_majeur
"This is the second class in which the 17-year-old young pianist plays this Sonata that Wolfgang Amadeus Mozart composed in 1789. For the last movement, which is an Allegretto, Michel Dalberto suggests not to play it so fast, since Allegretto is less than allegro.
As the main focus, Michel Dalberto says that this movement can be thought of as an opera, with characters that require different colors and characters. Dalberto says, “A scene of an opera with one person to person, three person, four persons speaking together and telling to each other something very specific. You have two characters. One is playing more. And then suddenly there is another person coming...""
Together with the previous class, these pair of lessons are a fantastic guide to the study of this Wolfgang Amadeus Mozart Sonata.
What we learn in this Piano Master class
-Allegretto is less than allegro
-It has an operatic character
-It´s a virtuoso movement
About Wolfgang Amadeus Mozart work
"Wolfgang Amadeus Mozart’s last sonata of all, the Sonata in D major, K. 576, dated July 1789, originated on a trip to Berlin and Potsdam that Mozart made to boost his flagging fortunes (vainly, as it turned out) in the spring of that year. The Prussian King, Friedrich Wilhelm II, apparently commissioned the composer to write a set of six ‘light’ or ‘easy’ sonatas for his daughter, Princess Friederike. However, he only completed this one sonata, and in a style anything but ‘easy.' Like the near-contemporary String Quintet in D major, K. 593, K. 576 is an effortless amalgam of the ‘learned’ and ‘popular,' marrying an apparently light, convivial tone with dazzling contrapuntal craft. The opening theme, in rollicking ‘hunting’ style lends itself naturally to canonic elaboration, a hint Wolgang Amadeus Mozart takes up almost at once and pursues further when the same theme initiates the second subject group. There is a suavely lyrical contrasting theme, marked dolce, and the exposition concludes with a little cadential figure derived from the opening bars. The development works the main theme in wiry canonic textures, and then glides back to the recapitulation in a breathtaking chromatic passage based on the exposition’s final cadence."
The Adagio contrasts an expressive, richly ornamented melody in A major with a forlorn, though equally florid, central episode in F sharp minor. One inspired touch is the way the coda alludes to the episode’s rhythm and texture, but not its precise melodic outline. Like the first movement, the rondo finale develops its breezy, popular style, and tunes in athletic polyphonic textures, now with an added virtuosity.
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