In Mozart's Sonata K.331, in the IV Variation, where there are double thirds and the hand crossing, I feel a slight pain (meaning bearable) in the lower part of my right forearm when playing the alternating thirds with the E using my right hand. In other cases too, I have had to, shall we say, "apply more force" when playing thirds, and I have noticed that under conditions of normal relaxation, the thirds come out too softly or with a wrist thrust... so I apply more force in the fingers to avoid using the wrist, resulting in my right forearm being a bit tense (the left one does not experience any sensation of pain).
I hope I have been clear.... my question is: is it possible to play these thirds without any tension (meaning there is something wrong with my approach) or is it normal for what I described above to happen??
Hi Daniele. I am still playing that sonata and I don't know it very well since I haven't studied seriously for years, but that variation is certainly not the simplest one. The cantabile part is always in the soprano, so the left hand passing over has the singing role, placing the thirds of the right hand in an accompaniment position. Therefore, the right hand should not strain much but, in my opinion, should be well-supported with weight yet relaxed, trying to distribute the weight of the hand more consistently in the higher notes to sing them as best as possible. Keep in mind that the thirds in the right hand must be well-legato since, in the Fischer revision that I have, in the second measure we have 4/2 on sol-si but 5/3 on la-do, while he recommends 5/4 for si-re, allowing for a beautiful legato appoggiatura. Without dragging things out, try to relax and listen to the advice of Paolo and Simone, which will surely be more useful to you than mine. Bye and happy studying.
The bad thing is that Tozzi copied this one too....but!....This is madness!
But of course. The right hand plays with light rotation (lesson six... we will talk about it) without any fatigue. The left hand leaps, playing the thirds in octaves. This passage can be pedaled (no anti-Mozart scandal!!!!!) provided that the pedal is applied on the beat. If you listen to Horowitz... he exaggerates... but it works... even if it's not very Mozartian. Listen to him. So, no effort at all, I say no effort.
No, it is not an easy passage, considering that in the second half there is the trio in D major which is even worse! The right hand must be very light and supported; one must try to make the outer notes heard to achieve the "singability" that matches the notes played by the left hand. K 331 is not extremely difficult technically, but it is not easy to render, as are all of Mozart's sonatas; even the 16th in C major, which is the easiest, has difficulties with singability and rendering if we take a look.
Hi Elenka, even if the K. 545 score says "(easy)", in my opinion it is a sonata that is anything but easy. It is certainly easy to read but very difficult in terms of clarity at speed and expressiveness. Not to mention the third movement, which I believe is anything but easy if performed properly. The adagio, moreover, has an unheard-of depth! Just like in K. 332. A beautiful theme connects them, very legato and cantabile. Do you agree?
Absolutely! 😉 let's just say that the easy name was given for the educational purpose the sonata had, namely to practice scales and arpeggios, but since it is Mozart and not Hanon, performing it well is not easy 😉
Indeed! I consider it excellent training for the 5 fingers. I remember when I studied it as a child, but at a recital I only performed the first movement. C - G - C - E - G - E - C - E - F - D - B - D - C there are the 5 fingers, not to mention equality in scales. Of course, with hindsight, there are harder sonatas, but K. 545, perhaps because it is a childhood memory, I wouldn't place among the simplest.
I leave you the video of the recital I did as a child... Toothless
I agree. The fourth var. of the 331 is not easy to render. One must synchronize the hands well and let the left hand prevail in the acute part. I insist on the pedal, which must be "supported". Yes, Elenka, Mozart's scales are not like Hanon's. Here is the prime example to understand that music dictates the technical solutions to us. They must be sought in service of the musical "rendering".
Congratulations to Bambin Simone... who, at that time, was already good!!!!
This open discussion on Mozart is truly beautiful... my favorite was indeed Orowitz. You gave me confidence, Simone, with you saying "Great contribution!" Thank you... since I need it. However, I wanted to immediately dispute the right-hand legato, as I reread it immediately after and it seems truly difficult to connect without using the pedal, echoing what Paolo said but.... as far as I am concerned, the pedal is not scandalous; since I consider it a possibility and therefore we can use it while naturally staying within the framework.
Same here regarding K 545, which is not simple at all, with the central tempo being one of the most beautiful along with that of the 332. These are sonatas that I have studied a lot and when I think of Mozart.... they are always there.
It is very nice to share all this with you. Thank you very much.
Lately I have been listening to Larocha's interpretation of the central tempo of the 332 and I managed to bring out the singing in the left hand from the eighth bar, the beautiful la si sol and...... mi si la... which if I am not mistaken is a tenor voice, right? What a great master!! I think I will play Mozart until the end of my days!! I hope therefore to have a long life.
Watch out for Gould!!! Gould's approach to the piano is very dangerous. Like all students, I also had my Gouldian period but..... it caused me quite a bit of harm! Gould's vision, but above all his approach with his "way" of understanding instrument and score, is so personal that it becomes dangerous; a bit like for a painter approaching artists like Van Gogh or Picasso too closely.... and I wouldn't know what else to say to explain myself. I think his interpretations are visionary, crazy, and moving, but they remain his and are debatable outside of a narrow context. It wouldn't be bad to talk about it with Paolo as well to hear his opinion, and I hope he makes himself heard.
@ regarding Mozart, despite my esteem for his rhythm and choice of certain tempos, he is not the pianist I love most and ..... in my opinion, we lose many things in some of his performances of Mozart.
All performances by "great personalities" can be misleading. When studying, the best thing is not to listen to performances, especially those of the Great interpreters. We must absolutely find our own version and understand the text, which suggests everything to us. Only when we are ready to perform the piece... then can we listen. Something very strange will happen: not all distinguished performances will please us.... perhaps almost none. It depends on the (positive) fact that we have found our own. Instead, we will grasp some wise solutions in managing tempos, rhythm, and phrasing, and we will be amazed at how the Greats resolved certain points that cause us suffering and that made us "go crazy." Try it to believe it.
P.S. In the case of Gould, what can be said? Faced with a Giant we cannot speak, yet we must, it is true, approach his noble examples with caution. His choices are not always in line with the Author's thought. He is one of those interpreters who feel the need to revisit the piece. However, in his life, he left us masterpieces to admire and not to imitate. A small example can be found in the sarabande of Bach's first French suite. Extremely slow, poignant, wonderful!!!! Listen to it. In the second movement of Bach's Italian concerto (the first and third movements are stupendous), he "obsesses" us with the incessant bass note. Sometimes he distorts the tempos and invents, however, wonderful things. So, certainly, be careful when entering these Temples of interpretations that overturn our Creed.
