Interpreting Mozart: The Performance of His Piano Pieces and Other Compositions

Description

Originally published in German as Interpreting Mozart on the Keyboard in 1957, this definitive work on the performance of Mozart's works has greatly influenced students and scholars of keyboard literature and of Mozart. Now, in a completely updated and revised edition, this book includes the last half century of scholarship on Mozart's music, addressing the elements of performance and problems that may occur in performing Mozart's works on modern instruments. Cover Half Title Title Page Copyright Page Contents Preface to the First Edition Preface to the Second Edition List of Abbreviations List of Illustrations Key to Music Sources, Editions, Documents, and Most Frequently Mentioned Treatises Introduction 1 Mozart’s World of Sound Keyboard Instruments of Mozart’s Time Mozart’s Training on All Kinds of Keyboard Instruments The Sound of Mozart’s Own Fortepiano by Anton Walter Knee Levers for Lifting the Dampers on Mozart’s Pianos Necessary Use of the Damper-Lifting Device or Pedal Mozart’s Fortepiano Pedal Instrument The Range of Mozart’s Fortepiano A Word about Piano Mechanics 2 Dynamics Basic Dynamic Signs Customary during the Eighteenth Century Dynamic Signs in Mozart’s Piano Works The Indications Sotto Voce and Dolce Static and Dynamic Markings Crescendo and Decrescendo Mozart’s Accent Signs Supplementing Incomplete or Missing Dynamics The Echo Syndrome 3 Problems of Tempo and Rhythm Tempo Problems A List of the Most Important Tempo Markings Alla breve Time Playing “In Time” Agogics Rubato Some Peculiarities of Rhythmic Notation Tripletization Hemiolas 4 Articulation Legato Legato Slurs and Articulation Slurs Mixed Articulation Portato Staccato Unmarked Passages 5 Ornaments Appoggiaturas Arpeggios Turns Trills Endings of Trills The Half-Shake (Pralltriller) 6 Improvised Embellishments The Old Rules for Placing Embellishments Necessary Additions of Notes Embellishment Models by Mozart When Additions Are a Matter of Taste When Additions Are Definitely Out of Style 7 Cadenzas and Lead-Ins (Eingänge) Are Cadenzas Improvisations or Premeditated Compositions? Structural Differences between Cadenzas and Free Improvisations Composing Cadenzas for Mozart’s Concertos Lead-ins and Other Fermata Embellishments Proper Places for Fermata Embellishments Where Fermata Embellishments Are Questionable and Where No Lead-ins Should Be Played The Various Meanings of Fermata Signs 8 “Expression and Gusto” Expression with the Help of Dynamic Shadings Expression with the Help of Articulation Expressive Rhythmic Shadings Harmonic Expression Proper Accompaniment Helps Expression Expression of Comic or Tragic Moods Keep Smiling! Are Repeats Compulsory? 9 In Search of the Best Text The Neue Mozart Ausgabe (NMA) Other Recommendable Editions Text Problems in Piano Sonatas Text Problems in Piano Concertos What Comes after the Neue Mozart Ausgabe? A Recent New Edition of the Piano Concerto in E-flat Major, K. 271 (Breitkopf & Härtel N° 5300) About Page Turning 10 Playing with Orchestra How Pianists Should Study Piano Concertos Orchestra Sizes and Ripieno Parts Continuo Playing Playing the Final Chords of a Concerto Movement Together with the Orchestra 11 Some Technical Questions in the Piano Works Finger Action Scales and Arpeggios Trills Octaves Technical Problems of the Use of the Damper-Lifting Pedal (Knee Lever) 12 Remarks on the Interpretation of Selected Piano Works Concerto in D Minor, K. 466 Concerto in A Major, K. 488 Concerto in C Minor, K. 491 Piano Sonata in A Minor, K. 310 Sonata in A Major, K. 331 Appendix 1: Mozart’s Reported Tempo for Pamina’s G-minor Aria Appendix 2: A List of the Best Presently Available Editions of Mozart’s Piano Music Appendix 3: An Example for basso continuo Realisation (K. 449/I) Selected Bibliography Subject Index Index of Works Cited