This might be a really broad question that cannot really be answered online. But, I've been working on my ABRSM grade 3 and am really enjoying the pieces, especially the Mozart I am doing.
I was hoping to get some general tips for playing Mozart? Again I don't really know if this is something that can be answered online but thank you in advance.
1. Listen to some Mozart violin solos and watch some small-ensemble Mozart on YouTube. Especially watch the players' right hands and bows at the strings.
Long phrases, and restrain your off-the-string bow technique.
Play clean, play in tune, and take good care of the phrase endings.
There used to be a very good video on Youtube by Nate Cole - making it look incredibly easy, as always. But it seems to have disappeared, unless I've missed it. I think Alice may have summed it up - I remember him demonstrating phrase endings.
One of my teachers put it this way: "Don't interpret Mozart's music. Just play it beautifully." Then he added: "That is the problem".
Mozart shouod be free of affectation. Alice put it well.
I remember Mozart being fun to play (on another instrument), and would speculate that if you find it to be fun, then you're probably not missing it entirely.
There's another thread on the Mozart concertos. I wonder if attempting to emulate is productive or not (beyond the very basic approach of listening to a Grumiaux or an Oistrakh to see roughly what it can sound like)? Are we implying that if we listen to 10 maestri, we can synthesise the best of each of them? You'd have to be pretty good to do that, to put it mildly!
Found the Nate Cole video https://www.youtube.com/watch?v=nXVyrkYLe8A
I personally think emulating the sounds of great players is a reasonable objective for a young student. So long as it's not always the same great player. In one of the blog posts, someone wrote that Ricci emulated Heifetz and Kreisler! Two very different players! Ricci turned out okay in spite of having done so.
It is often written that Mozart 'thought' in sung phrases. Its a wonderful way to interpret his work - you hear the soprano sing the phrase and then the loving suitor replies - or the angry father! Indeed, one can get quite carried away with this interpretative method.
I was going to recommend listening to Midori play some Mozart, based on my attendance at a Midori masterclass a couple of years ago and being just a few feet away from her incredibly sensitive playing of only a few phrases. But she has not recorded much Mozart that I could find - violin/piano sonatas and this wonderful Sinfonia Concertante (with Nobuko Imai on the viola) - listen to all 3 movements: https://www.youtube.com/watch?v=9cEI65EFXWo .
Agree with Elise S. Also listen to the good sopranos in the Mozart operas, how they sculpt the melodic line and the fast coloratura passages. Of the four biggest composers (Bach,Mozart, Beethoven, Brahms), Mozart was the only one to excel at both Opera and Instrumental works. The vocal lines of Bach, Beethoven are awkward, non-ideomatic by comparison, like transcribed instrumental parts.-just my opinion.
Yeah, my first two paras aren't well worded, as I was trying to answer both OPs at once. Sure, listen to one master play Mozart, but there's no need to go OTT. For general tips, jut go for beauty and sublimity.
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