Bloody Brilliant: Piece I


To those of particular podsnappery(and most limited vernacular)…


Most often it is, that pieces are not played or performed in their properest manner.  That is to say…often brilliantly made pieces of music are “bloodied” in the crowd’s so shambled mind.  It is only the finest of the wankers(those with the daddles) who decides to investigate such skilamalink sounds.  And you better believe that whence they do…they shall discover that music of course can be bits n’bobs rather then the remnants of last night’s godforsaken youtube plonkered rubbish.  Or listening to those whooperups on their “music players” whom are no better than the mutton shunters ignoring your otherwise blinkered street.

It is the sincerest wish of this series to exploit that which is purest and put the bloodied tossers minds into their final resting place, in front of the sodding telly. Well then, Bob’s your Uncle and don’t say I didn’t warn you so.

If you only live once…then for god’s forgiven bloody sake, listen to it properly. The way it was supposed to be,



Wim Winters, does the name or the fellow get any more brilliant?!

Please read more of this delightful man:


For the Ambitious Tosser(wrap your Mars Bar around this):

Although the clavichord as we use it in this recording, is strongly connected to the circles around Bach, and in the case of this instrument, may be even more to those of the children of Bach and the forthcoming tradition, this type of instrument was known and used in Vienna also. There we see the pianoforte gaining ground from the 1780’s on (only from then!), but the other instruments as the harpsichord and also the clavichord, remained present in the daily lives of musicians and composers. We’ll come back to that aspect.

Mozart’s father, Leopold, sold clavichords built by Friederici, and was in regular correspondence with his son about these instruments. When Wolfgang was in Paris in 1778, one of the possible dates and places for this composition (it is not sure when it was composed exactly), Leopold advised his son to look as soon as possible for a good clavichord, in order not to spoil his touch on the harpsichord or pianoforte. If, however, Mozart was able to find one in France, where the clavichord was rather not known, is, to my knowledge, not documented. Interesting quote, nevertheless.

This sonata, according to the NMA, written in 1783 (and not 1778 in Paris as was long-time thought), is one of his large, difficult sonata’s. it’s form is very sonata-unlike, replacing the ‘normal’ first movement by variations, enlarging the minuet to a composition on its own (for which he could have got inspirations from the work of the Parish composer Schobert) , and ending with a rondo, the famous Turkish march.

The rondo Alla Turca, is often played very fast. The notation however (Allegretto with 2/4) points towards a tempo that is elegant, rather than hasty. Moreover, the original dance of these Turkish Military band (the Janissary bands), is very static, and can be applied almost 1 to 1 to this composition.



Hold on to your tightest knickers and please don’t start to chunder yet…

….More Kerfuffles to come in Piece II !!!!!!


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