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With Mozart, as with Haydn, we find very few indications in the scores.
You need to understand the historical context; in those days composers had great faith in
their performers. Going back even further, we see that Bach very rarely gave indications of
tempo or nuance. In the
second Prelude and Fugue in C minor
, the tempo appears only at the end
of the prelude: Presto. There are no slurs either.
How do you feel about Mozart's phrasing?
At the piano, you have to imagine that the phrasing is exactly the same as for a bowed
instrument. You practically cannot alter it. You need experience to be able to reproduce that
natural breathing, quite the opposite of Bach. In the Goldberg Variations, for example, none
of them modulate. They are very hard to integrate mentally. Hence the need to replay each
variation, unlike Mozart's works.
Mozart was keen for his works to have pedagogical value.
Certainly, but I would never give a Mozart sonata to a beginner pianist! You need the
experience I spoke of, to have a precise idea of the structure of the works, and your playing
must demonstrate lightness, imagination, flexibility.
What exactly do you mean by "flexibility"?
I mean the tension should be minimal, only what is necessary. Avoid all hardness, too fast an
attack. Touch the keys less rapidly.
Even more, it's indispensable to have a feeling for vocality and colour. A familiarity with
Mozart's operas is essential too. The score incorporates commas, questionmarks, exclamation
marks, so you have to punctuate it correctly. There is a constant play on questions and responses
inMozart, whichmakes playing his works very difficult. Dealing with these parameters requires
maturity.When you can playMozart well, you can tackle Beethoven's sonatas with confidence.
That's more necessary than being familiar with Haydn's music.