Interesting discussion. Although not exhaustive, you can see my Video Tutorial on Mozart's Sonata K330. First and second movements.
Now, regarding "fingering", I would like to abolish this term. Which fingering? Which one do you use? On such an edition it is marked.... etc...
Indeed Frank, implicitly and not only, in his words invokes "naturalness". There are no precise rules. There must not be, in my opinion. (I avoid always repeating "in my opinion". My statements should not seem "absolute"... "in my opinion"... always imply it!)
Seeing the Greats is fine, but a fingering that works for Gould may not work for another pianist (perhaps "by absurdity" even more "skilled" than him). Why??
Great question!!!!
Let's return to the beginning of the "pianistic gesture"... of that succession of movements that allow the pianist to resolve the passage to be performed with "ease". In every pianist, the gesture is realized in a different way. The chosen fingering, the right one, the one that conforms to the shape of one's own hand (here is the catch!), will also visually offer that ease which is the sister of "facility". Once, a friend told me: "When you play, it seems like you aren't doing anything". And it's a beautiful compliment.
In reality, everything we see as "easy" implies great physical and mental work. The "Duck concept". When we see a duck running on the surface of the water, it seems light and relaxed to us. It seems that for it everything is easy.... but underneath, in the water, where we cannot see, there is great work!!!!
Now, without talking about "advice"... I would like to suggest to beginners to grow and work, trying to understand what is best for their own hand. At the beginning, it should be the task of a good Teacher, who, observing the student, suggests the postures and fingerings most suitable for them and for them "in that phase of study". In fact, no fingering can ever be "for life". Progressing naturally makes us review certain positions and certain technical-musical solutions.
Regarding Mozart, the discussion is infinite, as His Music is infinite. A pianist friend once told me at the end of one of his concerts: "when I play Mozart, I feel a little tingling under my fingers!!!! It's a music different from all others!". It might seem trivial, but it isn't!
I would suggest taking care of, as Frank and others well suggest, the ornaments. Never as in Mozart are ornaments so fundamental. It's not that they aren't in Bach or Beethoven, but in Mozart the "blush" and "eyeshadow" light up with light!!!! I highly recommend the book by Badura Skoda that I cite in my tutorial. I find it an excellent work. It speaks of ornaments and the Music of the Great Composer in general. Beautiful.
In Mozart, one can experiment with all the fundamental basic gestures of pianistic technique. Studying a little hands separately helps us understand what the elements are and which fundamental gesture to associate (see Video).
Then start playing hands together for phrases, or rather for half-phrases... or even for cadences. Playing not "slowly".... but "in slow motion" (This topic was addressed in another post). Control the attacks and the "encounters" between left hand and right hand very much. Reach speed by playing almost at tempo with a stop on the accents of the beat units (in 2/4 on every quarter note and subsequently with a stop only on the first accent of the measure). We will feel where it is most appropriate to make the stop, when we sense a pleasant feeling of "completeness". Playing at the right tempo with a stop does not distort, does not alter the gestures and shows us, even before the final execution, what we must do and do well at speed. We can make the stop as long as we want, but when we restart, we must manage to reach the next accent. It's like having spaced rocks in the water, on which we must jump to reach the goal. After playing the fragment, we will analyze the errors... perhaps those errors that occur at speed.... and not in slow motion!!!
Tons of other things that even the wise Maestro will suggest.
Everything in Mozart is "pure" "essential" and his music is a bit scary, perhaps because, as here, musical ideas must emerge with maximum clarity and conviction.
I would like to say one more thing that is close to my heart. It is a widespread belief that Mozart's music should be performed with little expression and without pedal. I do not agree. We know from his letters how he preferred to play "with feeling" (naturally, an expression different from that of Romanticism). The pedal, when skillfully used, makes his sound more brilliant and legato. I recommend listening to the latest Brendel recordings published by Philips (some taken live)!!! Listen to the Rondo in A minor, so "expressive"!!!! Naturally, you will observe how"
even without being extremely rigorous with time, the listener should not notice this flexibility or at least find it acceptable. Never as in Mozart's music must the "management" of time be calm and without frantic rigor. Sometimes one "chases after the tempo"! That precious toy called a "Metronome" can be of great help, but it can become the worst enemy. The breaths, the phrasing, and the subsequent "recovery of the right tempo" cannot be achieved "to metronome time," but must be achieved with wisdom. Gradually, with growth and artistic maturation, the student will learn to manage their "internal meronomo". Never slow down "the notes," but rather slow down the "rhythm engine".....don't use the brake...but shift gears!!!!
Good Music
