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thanks for the link, BTW

I noticed a few differences, some staccatos where none were before and that grace note.

in the historic edition there's in measure 21, which I'm kinda stuck so far, a trill followed by 2 grace notes that greatly complicates matters.

I notice in the above UR edition there's only the trill.

Is that right? Or is the trill supposed to be played followed by the grace notes (implicitly acknowledged in performance)?

I truly don't understand what is all about this UR text obsession nowadays. Was the composer so stupid as to be completely unaware of changes made to published material? Or did he agree with them?

Wow.....Mozarteum....very nice site! Thanks for the link!

Best regards,

Johan B

Urtext is about clearly displaying the wishes of composers, separately from the wishes of editors. Editors can be very smart and creative people, and if we're stuck on some point of interpretation (or if we are a young student who needs to be reminded not to play everything mf), an editor's idea can be very helpful. However, it's nice to know what comes from the composer and what doesn't.

Many composers didn't have control over what editors did with their music. Many probably didn't care, as long as the editor (employed by the publisher) was happy and the publisher kept buying compositions. And obviously composers eventually die, but people keep printing editions of their works.

you can play that trill with or without the "closure" (that is what these grace notes are)... apparently Mozart leave the choice to the player, and the editor of that edition thinks is better with the closure.

well... let's start with measure 1.
in the B&H edition the 1/16 notes are all the same, in the NMA urtext there is a clear indication to shift the accent on the F starting the sonata like with a violin or an oboe... in measure 2 the articulation is different and I can keep going.
The best example of this kind of differences imho is in the Schnabel edition of Beethoven's sonatas vs an Urtext ( Henle or ABSRM) ... it's huge and both have their own merit.

many fine tips for execution, thanks

yeah, those hateful editors, always getting in the way of art. How they butchered Poe! And let's not forget Hans shot first in the original authorial view. Oops, that censoring actually came from Lucas himself!

my point is that art is what is published and has a 200 years of tradition, even if it's not what the author originally meant.

anyway, I'm now following the URtext. Now I only need a Walter pianoforte and meantone temperament or something...

The problem with this fingering is that the black keys get in the way; and the figures are in different keys, starting at different points. So there is no one-size-fits-all fingering; at least for me.

About the playing in the Yamaha commercial: the pianist seems to play very staccato. A few years ago I listened to a recording by Friedrich Gulda (I think) who also played the third movement rather staccato. Is this majority pianistic consensus? Because I play it a bit more legato.

But the beautiful thing about music is that there is no right or wrong.

Sorry, I didn't mean that every run should be played exactly that way, I just meant it is a good basic plan to work from.
The measure 12 run you asked about, I would play 1324 1324 then 31 on the next pair of notes, or maybe 21 to help move the hand over a little more in preparation for the ascending chord pattern.
Measure 35-36, the beginning of 35 can be played with thumb on the long D, then thumb on the high G, then starting the downward run from the last beat of 35: 1423 1423 1423 and 1 to start the ascending scale.
That's the kind of process I meant. I'm always looking for ways to use repeating 1324 on the way up/repeating 1423 on the way down, but there will always be exceptions and different things to prepare for beforehand/afterward.

many pianists play early piano staccato to both showcase their technical prowess and to kind of emulate old pianoforte playing with less sustain

Bach and Mozart probably wanted more sustain and legato and would be amused...

Composers have always explored a variety of sound from any instrument, and staccato playing is just one of many expressive sounds that is common for a violin, woodwind, or anything else. It probably has nothing to do with period instruments compared to modern ones.

When Bach and Mozart live nowadays, they would interpret their works perhaps in another way. So, what about UR text and interpretation? Of course we try to play their music like in the old times, but we can apply modern insights.

Best regards,
Johan B

funny, I thought I would be able to edit my post.

Anyway, now I'm following the UR text edition found here:

http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=2

here's the part I was able to cover on week one, measures 1 to 10:



Most hard part was getting that coda at measure 10 right. Now I'm alright (mostly )


here's measures 10 to 22 that I'm still working on and should be the base for my studies for this week:




I agree with Johan that that run in 12 and 13 is kinda tough. My hand moves up crab-like with 1-2-4, don't know if it's right but it works. Measures 20 and 21 give me now the most problem, specially the trill. Gotta say the trill is far easier here, as I said, in the UR text than in the published text, as it lacks those grace notes... I'm grateful for that and will respect Moz's wishes...

I'm actually a bit past those sections, but still trying to perfect them. I'll record an mp3 soon...

Sorry to be so late to the party but I would like to join! I first looked at Urtext but decided to use an edition that spells out the trills and keeps left hand work on the bottom staff throughout the first twelve measures anyway-will try to finish 10 measures this week and hope to catch up- thanks for all the interesting information and for starting this thread!

welcome aboard

never too late. Still trying to perfect week 1 and 2. It's amazing how after days of trainining things simply flow much more naturally...

Section 2 after the second coda begins with a new theme that is even more beautiful, can't believe it... *lovit* soon I'll post the section for this week...