I would like to post this interesting document that is rooted in the research of Czerny, Turk, and Badura Skoda on Mozartian touch. I found myself in perfect agreement with what was written, and I also found confirmation in my own "Mozart touch," which, incidentally, was learned from a student of Badura Skoda.
Mozart teacher of articulation.pdf
is it correct from here?
STUDY NOTES - Cases of pianistic methodology - Carlo Grante - Rugginenti Editore
Badura-Skoda, E. - Badura-Skoda, P.
Interpretation of Mozart at the Piano
is this the reference text by the Baduras for approaching Mozart?
Let's say that Badura-Skoda is pioneering, but I fear that some of his ideas might be outdated.
Well, at the current state, I wouldn't say so. In my opinion, it is the most complete and convincing book on Mozart interpretation. I am obviously referring to "Mozart Interpretation at the Piano".
Here are two versions for comparison. What I ultimately wanted to say is that today a harpsichordist must find a middle ground between the instrument and the listener's needs. This is so that both the instrument and the music do not become like an old antique cupboard. This is why playing these instruments becomes so difficult... and this connects back to the various peculiarities you mentioned in your performance.
Of course I know other musicians too and yes, I've endured it all without the slightest problem... That Landowska one isn't even a harpsichord, it's a pianette ahahahahh PS. The listener's needs change over time...
Who exactly are you referring to? The Landowska is pioneering but now outdated... The other one is more aligned with current studies and I prefer it, just as I prefer Leonhardt if we are talking about Bach; the Landowska instrument is more tank-like, too heavy, iron reinforcements are completely useless, they serve no purpose, the keyboard is too rigid and has too much key dip, in short, calling it a harpsichord is a stretch... And since I am learning how to build them, I know quite a bit haha
Yes, okay, understood. I would say let's leave the discussion, which has become more of a bickering than anything else, and it doesn't seem to me to be in the spirit of the forum.
Anyway, let me have the updates on the clavi under construction.
I am re-proposing the first two movements of the forte piano sonata, with a few flaws; I cut the second refrain of the second movement due to time constraints, they were about to lock me inside the classroom.
(Oh don't tell me it's out of tune because I tuned it personally a few hours before)
Frank!! I thought you had disappeared... since we are on the subject, do you know Haebler's interpretations? I find them very lucid in vision and also very correct and clear as an interpretation (excellent in my opinion as a reference for students).
Even if you are not a Mozart lover, I think this might make you reflect.
Let me know what you think.
It's not about Haebler... it's a surprise...
Note the evolution of the bass on the second page 56 at measure ... (is 'evolution' correct?). It sounds like another sonata compared to the classical interpretations. It affects a different voice... tenor? Contralto?
