Why does my horse rear? – Horse Racing Nation Belmont Stakes 2020

Why can’t I make it gallop like a horse of another breed? I don’t think so. They are, after all, horses.” [2]

Mozart, while being an exceptional pianist, played very rarely. To give you an idea of his lack of interest, I’ve transcribed Mozart’s two longest pieces, Don Giovanni and Die Walk├╝re, two pieces for piano, and a second one for violin that were actually in use by the composer. Don Giovanni was written in 1499. The second set of these pieces for violin was played in 1512 by the Duke of Savoy, who was Mozart’s friend and a close friend of the Cardinal. At that time, Mozart was in the city of Savoy and was doing his education at the University of Pavia.

His friend the Duke was asked by his brother-in-law, Baron de Condorcet, to play the violin pieces which were written in 1499, so Mozart performed several of these pieces. In 1497 he took part in a concert at Savoy in which he was the guest player, and after that time he wrote this piece in the D major scale:

Tutella amare!

Ora, amare!

In this scale a double cadenza or double march is played. Mozart was a master of the second hand. His second hand was more powerful, more expressive and more expressive over an extended period of time.

I can hear the difference in his second and first hands. This is a passage that Mozart composed in his 1816 operas, The Magic Flute, Lute-Suite and The Rheingold. In these two overtures his second hand was stronger and more expressive than it was in the first overture. In the first overture the two hands are almost the same, but in the second overture his second hand is closer to the first. In the same passage the second hand is weaker in the first overture, but stronger in the second overture. It is difficult to determine exact differences in a piece written in this way but I would say that that is one of the great reasons why the second hand is more powerful in the overture, at least for Mozart. [3]


The second part of the piece, the cadenza, can be heard in the above passage. It is an extended, melodic part. And, again, to give Mozart more power that his first

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