Mozart 4 Joachim Cadenza First Movement

December 20, 2020, 4:52 PM ·

How do you play this section of the Joachim Cadenza starting a 8:04? My teacher isn’t teaching during winter break and wants me work on the first and 3rd movements of Mozart 4 during the break(we did the second movement earlier). I’m mainly just wondering like how do you play it. Any fingerings you guys use would also be helpful.

Replies (5)

Edited: December 25, 2020, 11:56 AM · If the first bar of the passage (the one that starts with the high F) is bar 22, we get, as per Joachim's edition:
play the rest of bar 22 in third position;
after the first quaver of bar 23, go to first position;
stay in first position through bars 24, 25, 26, 27.
The first four semiquavers of bar 25 are in half position.

Hope this helps,

December 25, 2020, 6:57 PM · Thank you so much Bart, if you don’t mind can you also say how to play from bar 37(the a with the fermata) to 42 please.
December 29, 2020, 3:34 PM · I can do no more than describe the fingering in Joachim's edition. I would advise you to get hold of it!
Anyhow, here goes: the beginning of bar 36 is in first position. On the second semiquaver of the third beat (a D#) you go to half position, and on the first semiquaver of the fourth beat (an E) back to first position. Stay in first position until the second semiquaver of the second beat of bar 39 (a B#, to be taken with 2, in the third position, and on the second s.q. of the fourth beat of that bar you go to fifth position. In bar 41, on the second grace note after the trill (an E, with first finger) you go to seventh position. In the second half of that bar you go back down again to first position. Joachim has you play the first C# with 3, and go down from the second E to the second C# with a 2. I remember my teacher of over 4 years ago changing that fingering so that the G after the A in the last beat of that bar was played with 2.
I feel rather clumsy writing this all down, but I hope it helps.
December 29, 2020, 4:12 PM · Greetings,
when I was RCM I studied Mozart 5 with Ken Piper. He recommended I use the Joachim edition which surprised me. Ken told me that Joachim might have died aeons ago but his boeing’s and fingerings were, for the most part, musical, sensible and effective. On the whole I think this is true. If I had to recommend an edition for Mozart 4. I think Oistrakh improved on Joachim, but not by that much....
Incidentally, perhaps the most technical gifted player of much of the 20C, Jascha Heifetz said that ‘anyone can play the Tchaikovsky but it is Mozart that shows the true level of a player.’. Another RCM teacher told me that he snuck into a rehearsal of Heifet and the LSO (?) when he was a student. Heifetz stopped the rehearsal and asked him what he was doing there. Heifetz let him stay but told him to get out of his line of vision because it was making him nervous. He said that Heifetz was estrella nervous although that didn’t affect his playing as far as he could hear.
As you get older the Mozart concertos do indeed appear harder and harder, in many ways the hardest concertos of all.
Mostly I think they are about identifying the operatic character implicit in its phrases and melodies. So, to really begin understanding how they work a basic knowledge of Mozart opera is very important in my opinion.
Best of Luck,
December 29, 2020, 4:13 PM · I love the way computers change bowing to boeing. Both go up and down I suppose....

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