Mehmet Okonsar | Mozart Complete Piano Sonatas VOL.5

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Classical: Mozart Classical: Sonata Moods: Instrumental
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Mozart Complete Piano Sonatas VOL.5

by Mehmet Okonsar

Disc number 5 of the five CD set: Wolfgang Amadeus Mozart, complete piano sonatas by Mehmet Okonsar.
Genre: Classical: Mozart
Release Date: 

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  Song Share Time Download
1. Sonata No. 15 in F Major, K. 533 U. 494: I. Allegro
6:12 $0.99
2. Sonata No. 15 in F Major, K. 533 U. 494: II. Andante
7:01 $0.99
3. Sonata No. 15 in F Major, K. 533 U. 494: III. Rondo, Allegretto
4:56 $0.99
4. Sonata No. 16 in C Major, K. 545: I. Allegro
2:52 $0.99
5. Sonata No. 16 in C Major, K. 545: II. Andante
5:34 $0.99
6. Sonata No. 16 in C Major, K. 545: III. Rondo
1:50 $0.99
7. Sonata No. 17 in B-Flat Major, K. 570: I. Allegro
5:03 $0.99
8. Sonata No. 17 in B-Flat Major, K. 570: II. Adagio
6:38 $0.99
9. Sonata No. 17 in B-Flat Major, K. 570: III. Allegretto
3:15 $0.99
10. Sonata No. 18 in D Major, K. 576: I. Allegro
4:18 $0.99
11. Sonata No. 18 in D Major, K. 576: II. Adagio
4:12 $0.99
12. Sonata No. 18 in D Major, K. 576: III. Allegretto
4:03 $0.99
Downloads are available as MP3-320 files.


Album Notes
Mozart was a real great virtuoso of the keyboard. Most of his keyboard works were composed for the piano-forte, only his first compositions were for the harpsichord.

During 1770's the piano-forte was a very new instrument, only few decades old and its mechanics were continuously updated. Its fame was growing fast and it was going to replace the harpsichord at homes and "saloons" at the last years of the 18th. century.

While in Augsbourg in 1763 Leopold Mozart, with his two children, met with the famed instrument builder Andreas Stein and purchased an harpsichord. Stopping at the same city in 1777, Wolfgang Amadeus visited again the Stein workshop and showed great enthusiasm for the "new" piano-forte"s. Towards 1775, Andreas Stein did built a new "escape" mechanism on his instruments' hammers and that mechanical innovation largely increased the sonic possibilities of the keyboard. With this new mechanical action design, the hammer was dropping down quickly after hitting the string and thus, it was possible to play again the same note very fast. Therefore trills and repeated notes were performed amazingly fast and easily. At the same time the instruments from Stein had a very clear and shining sound. Their basses were deep and profound.

In a letter to his father, Mozart wrote in 1777: "I can make everything I want with the keys, the sound is always equal; it is neither harsh or too weak or inexistent it is level everywhere."

It is for such an instrument that Mozart composed all his sonatas and concertos. That also shows the most important qualities of the technique required for the performance of his works: a crystal-clear clarity of the touch and a very natural expression of the melodic lines.

According to C. M. Girdlestone ("Mozart et ses concertos pour piano", 1953) there are two ways of playing Mozart wrong. The first is to play Mozart "only" graciously, elegantly, soft and light and the second wrong way is to make it too brilliant. Actually the only characteristic which must be constantly present is the clarity, otherwise one must play his music "as it is", which means sometimes vigorously, graciously, delicately, joyously. Also sometimes with humour, sometimes dark.



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