Week 2 Thread: The Era of Haydn and Mozart! 
Welcome to the Main Thread for the third week of "Mozart & Haydn - Music from the 18th Century" challenge!
- Make sure you've read the guidelines before replying (<- click)
- Watch the kickoff livestream! (<- click)
This week, we will talk about the different ways composers were trained during the 18th century and how they could achieve such high productivity through schemas and patterns
Look at a different piece by the same composer you are studying and try to compare the music to the new piece you are practicing now.
If you are ready, post a short clip of the patterns you found in your music! One of the ways we grow is through feedback and self-reflection.
Pick a piece from the suggested repertoire according to your level or share any piece written during the 18th century that you have been working on!
If you want to describe your process, feel free to use the following template.
- Piece(s) you have been working on:
- Things you found easy:
- Things you found difficult:
Happy sharing 
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I was able to make a recording of the Slow Movement; it ends on the Dominant, with an Attacca to the finale, but I still have to work on that. I know the last few notes are a little too fast, but that shouldn't be much of a problem to fix.
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Thurmond R Bravo, Thurmond! What a beautiful movement! Thank you very much for sharing!!
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Thurmond R Very beautiful! Great job.... now... if you would like to add something more and play more beautifully the singing melody, I would imagine those long phrases as part of the same long chant. Try to imagine that somebody is pulling your hand away from the keyboard. That might help in keeping those phrases together. But they are already very very good. :)
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Thurmond R thanks for sharing, it's such a nice introduction of this lovely movement
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Thurmond R Great playing, Thurmond! Thank you for sharing it.
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Thurmond R Well done, Thurmond! The darkness in this movement is a nice break between the very joyful 1st and 3rd movement. This sonata is “catchy” like a hit-song! Looking forward to hear more!
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Andrea Buckland Natalie Peh Juan Carlos Olite Thank you all for your comments!
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Thurmond R This is terrific! You play with great intention and direction, and because of these qualities, you hold our attention through the entire movement. In addition to your fabulous dynamic contrasts, I love the way you release so beautifully at every single phrase ending. This is a great performance, Thurmond!
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Monika Tusnady Thank you! I'm glad that I do!Sindre Skarelven Thank you! I agree!Antonella Di Giulio I thought I had replied to you already, but apparently it didn't go through, so thank you for your advice! I think it has helped the movement in the recent days since.
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Thurmond R that was gorgeous! You played with such wonderful expression and sensitivity.
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Susan Rogers Thank you!
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Thurmond R well done, really interesting piece and sounded great.
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My first video of Haydn Sonata XVI:34 in E minor (sorry the mistakes, Antonella). There are several problems: what to do with so many silences, fermatas... (sometimes it seems that it is very easy to lose the tempo)? I would like to play the Alberti bass in the third movement with more lightness and accuracy, is there some kind of special exercise for that? Anyway, I love this music and, as still one week left, I will try to do a new video with more time and care.
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Juan Carlos Olite Very beautiful performance!
1) What to do with the silences- fermata? I always think of a long line when I have silences in between phrases. And for the fermata: count the fermata as in ritardando.
2) If you lift your left arm on your side and then slowly place the left hand on the piano with the arm still a bit lifted, you should get a softer left hand.
I know this sonata quite well, but I had wondered about the edition you were using as in the edition I had used the sequences of chords at the right hand in the first movement are all connected. I looked up and there are actually two different versions, one written the way you play and the other one the way I know it. You can decide which one you prefer, but... if you like those notes staccato, maybe the staccato should be more pronounced.
I am attaching the score of the sonata (the one I know) below :)
Great job though!
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Juan Carlos Olite Wow! This is absolutely fantastic, Juan Carlos!
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Juan Carlos Olite that sounds so nice, I like how your notes have a crispness to them and it makes the piece sound livelier
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Antonella Di Giulio Thank you very much, Antonella. In my edition (Boileau) the sequence of chords are all connected..., it is clear that I have to work very hard on it. I will try to play the Alberti bass softer with your advice. In general, I need to feel more relaxed myself to play more comfortably this wonderful sonata. Thank you for the score as well
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Andrea Buckland Thank you so much, Andrea!
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Natalie Peh Thank you Natalie, I like your Mozart too!
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Juan Carlos Olite then try to connect well the top voice while playing the lower voice softer.
Setgio Fiorentino, the great Italian pianist, used to let students practice as slow as possible but with a faster tempo in mind so that all the details could be taken care of
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Juan Carlos Olite Fantastic playing, Juan Carlos!! Quite an achievement i would say. I love this sonata! You played it very beautiful, with appropriate and delicate touch. Inspiring! Looking forward to hear how you will take this even further.
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Antonella Di Giulio Of course, I'll try to do it. And I will follow the Fiorentino advice. Thank you so much, Antonella!
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Sindre Skarelven Thank you Sindre! There is much work to be done! But I am enjoying very much this classical challenge, in spite of the hot weather in Spain
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Juan Carlos Olite Great playing, as always! Beautiful sonata.
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Juan Carlos Olite My favorite Haydn Sonata! I learned it when I was 11 years old, and I found an old recording my dad made from back then that I'm including for fun. Haydn e minor Sonata
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Gail Starr Wow... you sounded amazingly good! It is a very beautiful performance.
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