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

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