Begins by addressing the problems associated with performing Mozart's piano music on "modern" instruments. This work moves through each element of performance - from dynamics to tempo and rhythm, articulation, ornamentation, embellishments, and cadenzas. It also addresses problems of "text" (scholarship on Mozart's scores).
Begins by addressing the problems associated with performing Mozart's piano music on "modern" instruments. This work moves through each element of performance - from dynamics to tempo and rhythm, articulation, ornamentation, embellishments, and cadenzas. It also addresses problems of "text" (scholarship on Mozart's scores).
Paul Badura-Skoda is one of the most important pianists of our time. In 1945, Badura-Skoda entered the Vienna entered the Vienna Conservatory, and two years later won first prize in the Austrian Music Competition and a scholarship which allowed him to study with Edwin Fischer. In 1949, Wilhelm Firtwängler and Herbert von Karajan became aware of Badura-Skoda's outstanding talent, and invited him to play concerts. Practically overnight the young Viennese became a world-famous artist. Since then, Badura-Skoda has been a regular and celebrated guest at the most important music festivals, and a soloist with world's most prestigious orchestras. Eva Badura-Skoda is a musicologist, publishing extensively on the history of the piano and on performance-practice problems of the 18th and 19th centuries.
Inhaltsangabe
Introduction 1. Mozart's World of Sound 2. Dynamics 3. Problems of Tempo and Rhythm 4. Articulation 5. Ornaments 6. Improvised Embellishments 7. Cadenzas and Lead-Ins 8. "Expression und Gusto" 9. In Search of the Best Text 10. Playing with Orchestra 11. Some Technical Questions 12. Remarks on the Interpretation of Selected Piano Works Appendix 1: Reports about the proper Tempo of Pamina's Aria "Ach, ich fühl's..." Appendix 2: An Example of "Basso Continuo" playing in the Concerto K 414
Introduction 1. Mozart's World of Sound 2. Dynamics 3. Problems of Tempo and Rhythm 4. Articulation 5. Ornaments 6. Improvised Embellishments 7. Cadenzas and Lead-Ins 8. "Expression und Gusto" 9. In Search of the Best Text 10. Playing with Orchestra 11. Some Technical Questions 12. Remarks on the Interpretation of Selected Piano Works Appendix 1: Reports about the proper Tempo of Pamina's Aria "Ach, ich fühl's..." Appendix 2: An Example of "Basso Continuo" playing in the Concerto K 414
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