I started studying this Mozart sonata by downloading the sheet music from the New Mozart Edition website, and even though I read that it is the largest digital library of the composer's works, I notice the lack of tempo, dynamic markings, and slurs in the score.
How is such a thing possible!?! Surely there must be an explanation that I am unaware of, and for this reason, I am asking you for help.
Another thing I wanted to ask you was regarding the realization of Mozart's ornaments. Although I know there are books dedicated to this subject, could you suggest an alternative way to resolve the issue?
In another topic you were asking about interpretation ... well, the Mozartian poetics themselves must be interpreted, and with him, how do you make mistakes
I can understand that the omitted data must be researched through study, not just at the piano. What I haven't understood, even after reading the topic that Carletto kindly pointed out to me, is how I can solve my problem.
When I perform an embellishment, I wonder: should I stick to the theory or did Mozart intend to write something else?... not having a teacher, it is difficult for me to answer this question without taking paths that are too long.
C
Chopin
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Reply 5 by Chopin
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218
sisifo1987 wrote:
Another thing I wanted to ask you was regarding the realization of Mozart's embellishments. Although I know there are books dedicated to this subject, could you suggest an alternative way to solve the problem?
Do you mean how to "develop" the embellishment? That is, knowing which notes to perform?
C
Carlos
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Reply 6 by Carlos
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759
sisifo1987 wrote:
I can understand that the omitted data must be researched through study, not just at the piano.
The data is not "omitted". Mozart wrote exactly what you find in the Neue Mozart Ausgabe. In other editions, they are added by an editor; there is a big difference.
sisifo1987 wrote:
When I perform an embellishment, I wonder: should I stick to the theory or did Mozart intend to write something else?... not having a teacher, it is difficult for me to answer this question without taking paths that are too long.
It depends. Which embellishments are causing you difficulty? In any case... remember when I was telling you, on the other hand, that the only way is "study, study, study"? Well: there are no great shortcuts, but you could try listening to at least two pianists who certainly know their stuff, namely Brendel and Uchida. It could be a good starting point.
In Mozart especially, we find long trills in the right hand that accompany the classic "Alberti bass". The trill must be free, but the resolution must be clear and balanced. I realize that on commercial pianos this becomes difficult also due to keyboards that are a bit too pasty. I always recommend studying the trill from the end moving towards the beginning. It is a practice that helps a lot... Study first the last quarter where the trill resolves, then study the last two quarters until returning to the entire measure. In ornaments, as in nothing else, fingering is of vital importance and must be tested initially and not changed later; otherwise, doubts could arise at the moment of execution. If there is one thing that is unique, it is precisely the fingering of ornaments. There is no definitive fingering. Many pianists trill on white keys with 1-3 or with 2-3, or with the Tausig fingering 1-3-2-3. Each hand must find the fingering that most naturalizes the ornament and makes it fluid and free. Listening to the masters, it is clear how ornaments are so natural. In small groups such as sup. reale/inf. reale, which are also very frequent, in Mozart I recommend letting the fingers fall rather than pressing the key; there is a great difference. By pressing the key it is easy to make mistakes, but by letting the fingers fall in these groups, one will hear a very clean sound. A classic example is in the first movement of Sonata K. 330, or also in the first movement of K. 279, or in the Fantasy in C minor and in many other Mozart sonatas.
In short, as Carlos well says... Study, study, study
C
Carlos
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Reply 8 by Carlos
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759
I want to post it because it is truly a marvel, regardless of whether it is useful to Sisyphus or not. Enjoy these four minutes of pure poetry.
I improperly said "omitted" when referring to what Mozart wrote.
Carlos wrote:
It depends. Which embellishments are giving you difficulty? In any case... do you remember when I was telling you, on the other hand, that the only way is "study, study, study"? Well: there are no great shortcuts, but you could try listening to at least two pianists who certainly know their stuff, namely Brendel and Uchida. It could be a good starting point.
I understand that is the way, but by straying too far I am afraid of getting lost.
I find Uchida exceptional; she has a beautiful sound. When I listen to her, I realize how far away I am
Sisyphus is right... I am afraid of losing my way. On one hand, we have the performance of the Greats as an example, and on the other, there is the student. In between, there are thousands of considerations and suggestions that only a Master can offer. We, while watching someone play, even a Great one, see the final result which seems simple to us, without any difficulty. The path He has traveled is unknown to us. Which one must we follow? Each of us has their own path, but it is closely bordered by basic rules and experienced teachings that the Master near us suggests with vigilant control over our progress. Therefore, continuing to fuel the exchange of ideas that I see so lively here, I always recommend pairing yourself with a guiding Master....
