> 莫扎特 降B大调奏鸣曲 KV 333
莫扎特 降B大调奏鸣曲 KV 333
MOZART Sonate B-dur, KV 333
1、降B大调奏鸣曲 KV 333 I.快板 Sonate B-dur, KV 333 I: Allegro
2、降B大调奏鸣曲 KV 333 II.如歌的行板 Sonate B-dur, KV 333 II: Andante cantabile
3、降B大调奏鸣曲 KV 333 III.优雅的小快板 Sonate B-dur, KV 333 III: Allegretto grazioso
4、C小调幻想曲 KV 475 Fantasia in C minor, K.475
5、C小调奏鸣曲 KV 457 I.极快的快板 Sonate c-moll, KV 475 I: Molto allegro
6、C小调奏鸣曲 KV 457 II.柔板 Sonate c-moll, KV 475 II: Adagio
7、C小调奏鸣曲 KV 457 III.甚快板 Sonate c-moll, KV 475 III: Allegro assai
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专辑名称：莫扎特 降B大调奏鸣曲 KV 333/MOZART Sonate B-dur, KV 333
所属厂牌：EMI Records Ltd.
出版日期：1991
作曲家：沃尔夫冈·阿玛德乌斯·莫扎特/Wolfgang Amadeus Mozart
表演者：丹尼尔·巴伦伯伊姆(钢琴)/Daniel B
表演团体：
理查·施特劳斯
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地址：中国北京市西城区西长安街2号　邮编：100031Mozart: The Piano Sonatas专辑_Mozart: The Piano Sonatas内田光子_在线试听 - 虾米音乐
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Mozart: The Piano Sonatas莫扎特：钢琴奏鸣曲全集
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内田光子专辑介绍：Compositions - 4 Performance - 5 Sound - 4 stars.
Mozart's piano sonatas are sometimes devalued by critics as "lesser compositions" in Mozart's vast output. Of course when there are 626 works in total, some will be truly monumental, some merely masterful and others somewhat average and less consequential compared to the creme. To fully appreciate the piano sonatas of Mozart, one needs a little perspective. In Mozart's piano sonatas we see a bit more of the utilitarian need to produce music suitable for the "home market" - sometimes even used merely for musical lessons for a patron's child. What we often have here is typically pleasant parlor music - which was one goal of the more "simple" compositions in this set. This is one of the minor downsides of "let's hear it all" complete collections like this ... not all pieces will be stunning masterpieces. So, to one not familiar with this context, there can be feeling of the music being a bit "let down" after listening to some of these more simple sonatas - especially if there is an expectation for them to possess the magnitude of Beethoven's or Schubert's grand piano sonata conceptions.
Although more humble as a whole, Mozart's Piano Sonatas still possess a brilliance and that magical "Mozart touch." Take sonatas like K570 which have a surface innocence over a foundation of serious emotional and intellectual depth. Clearly, Mozart had a way of taking a simple, child-like lyrical theme and developing it via sonata form into something effortlessly melodic and classically perfected. As such much of this music really fits well into the world of young children: innocent, lyrical, gentle and not too much at once. But, like Artur Schnabel once said, "Mozart's sonatas are easy for children but difficult for adults." While some pieces are seemingly simple and make for wonderful, soothing background music (disc 5), there are plenty of dynamic, vituostic sonatas here - such as the popular K.330-333, the pathos-laden K.310 (a rare minor-key sonata) and especially the two passionate works in C minor (K457 and K475).
The typically warm, sensitive and expressive style of Mitsuko Uchida brings out the best in Mozart's sonatas as she finds just the right "classical-era spirit" in the music. In the lilting allegros and rondos, Uchida summons that legendary "bouncy" Mozart tempo and youthful enthusiasm, while still finding the occasional pathos when called for in certain moments. The sound of her piano is somewhat reminicent of a Mozart-era fortepiano with its sharp attack and quick decay. In fact, Mozart took such instrument dynamics into consideration in his fast-moving legato writing. For some at first (me included), this kind of sound may seem somewhat "dry" (as another Amazon reviewer also notes). Likely, Ms. Uchida is trying to stay close to the spirit of the music by her choice of instrument, following Mozart's markings (minimal changes in dynamics) and minimizing the power of the modern grand by largely avoiding use of the sustaining pedal (an invention which arrived late in Mozart's time that whose potential fascinated to him). So, I think the sound fits the idiom well.
This set received two legendary critic awards: a coveted Penquin Guide "Rosette" and the 1991 Gramophone Award as well as a listing as a top "Recommended Recording" - which certainly is fine critical acclaim. Additionally, Gramophone says of this landmark set: "This is unfailing clean, crisp and elegant playing that avoids anything like a romanticised view. Indeed her complete series is a remarkable achievement, comparable with her fine account of the piano concertos ... an unqualified recommendation is in order for what must be one of the most valuable volumes in the Philips's Complete Mozart Edition."
Another complete set that is worth hearing comes is by Eshenbach. His was my second choice. Andras Schiff is also known for a very lyrical and warm-sounding Mozart and his Decca complete cycle is also satisfying as is Alicia DeLarrocha's on RCA. For something a bit different, Russian pianist Mikhail Pletnev brings his characteristic dynamism and dazzling velocity to K.330-332/K.457 in a 2006 DG release. But, it really comes down to what stylistic nuances most captures your interest and emotion, so it is best to pick what you like best and enjoy Mozart's wit and genius. But it may be hard to top Mitsuko Uchida in Mozart's sonatas.
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以前最讨厌老师布置莫扎特，觉得简单幼稚。可是现在发现，也许成熟就是回归简单，像一个阳光明媚的天气，本来就是纯净的，暖的，平淡的。
熬夜圣品，嗯
十年了，陪我度过无数难熬的日子…听了一圈，只有这张内田光子的莫扎特奏鸣曲集最治愈。李赫特的巴赫十二平均律和古尔德81版的哥德堡变奏在我治愈系榜单并列第二。
莫扎特，没有你的音乐咱过啊？
听了一圈莫扎特 感觉这个版本比较适合我 皮尔斯的太梦幻 古尔达版本也不错 艾森巴赫的有点刚 想了想最后还是留下这个版本听
听了一圈还是觉得这个版本的最适合。昂，在家听飞利浦某张合集听到的这一段，觉得那张里演奏的最好。封面是个类似地球仪被贯穿了一根东西，圆形球体上有红色螺旋线条
这张专辑的音轨严重损坏？
找不到特别好的资源，重传了一次，再听听看是否好点
艺术创作时必备之醒脑良药。
outta Eight knp
shixia说：outta Eight knp
Hb二元pa?材积表
shixia说：Hb二元pa?材积表
有个以后男女地方8$？*”、6“9(TM)
shixia说：有个以后男女地方8$？*”、6“9(TM)
写东西时听听
买到Mozart Sonata的urtext
最近正在听
大隐隐于市 心远地自偏 笑望人世 不忘童真 也不忘生命本真…今晚感觉丰子恺和和莫扎特心境性格应该有相通之处…
(第1页, 共142条)
收藏了这张专辑的人们...
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Bb大调钢琴奏鸣曲 K.333（Mozart.莫扎特 附指法）
音乐人/Mozart.莫扎特
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莫扎特是已个纯粹的音乐家，也永远是一个有着最纯美诗意的，最质朴的音乐家。他曾经说过：“为升进天国而拼搏当然是壮丽的，崇高的，但是活在这可爱的世界同样是美好无比！既然如此，那就让我们做人吧！”莫扎特最高代表性音乐“是笑声和眼泪的混合”莫扎特音乐的特点是对称，均衡，莫扎特的音乐是个丰富的集成。实际上，莫扎特的钢琴奏鸣曲是一种演奏技巧及一种思想内容为中心的练习曲。1778年，时年22岁的莫扎特曾自豪地表白，他能够吸收和模仿一切艺术风格（其中当然包括巴洛克和罗可可的建筑风格）为他所用，熔于一炉，自成面貌。他在写给父亲的一封信中也曾经说道；“我不会停止做梦的！快乐的梦？宁静的梦！甜美而清新的梦？这既是梦，又是现实，它们铸造了我的生命，不过更多的是悲伤，只有那末一点儿快乐，梦使人生变稍微可以忍受下去!”。
在这首奏鸣曲中（K.333），莫扎特所追求的仍然是更多的诗意，宁静，甜美和和谐，越来越意识到音乐所能产生的无穷无尽的变化，。一向及其敏感的莫扎特对巴黎的种种现实，不得不使他太爱幻想了，不得不使他对个人的生活和他所了解的世界采取了诙谐和幽默的态度。他多以美丽的旋律撩动人心，在他手上那种透明的感觉依然是呼之欲出。莫扎特一再说他追求生命的平和，宁静，安详。
此曲每个乐章被赋予独特的个性，在适当的时候流露出含蓄的人间味，充满生命力与自发性。第一乐章的主要情趣是甜美和热情，而且显得格外清纯，没有过于夸张的色彩，典雅的气质也显得平易近人，几乎象是他的“指纹”一样地个性化，当然也是梦幻式的。第二乐章如歌的行板舒缓，流畅的旋律具有催人欲睡的魔力，超然绝俗。三段中部似乎不太强烈的对比具有一种深藏的渴望和欲求，但还是慢慢的消失在平和的气氛之中。第三乐章回旋曲的主题热情奔放，但不失典雅的个性特征。三个插段更具热烈的情绪，均有跌
的气势，既与主题形成对比，最后又自然而然地将其推向高潮，使其他变得抑扬顿挫，表露出热情的真性。
总之，这首奏鸣曲极富华丽，润饰的和弦进行是很能体现莫扎特和声语言特色，体现他的气质和个性，他的灵魂状态，他的音乐的清新和委婉，他的自创风格要素。1778年8月，莫扎特在致布林格的信中，用了三个词来表达他的灵魂渴求：“我的宁静”，“安慰”，“平静”。
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