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MOZART_K.457, K.475, K.332 / CLEMENTI_OP.34 No.2 17
I imagine that since you’ve been teaching for such a long time that your
students have often worked on the
Fantasy
and on the
Sonata in C Minor
?
A.C.
: This will surprise you: I worked on the
Fantasy
with only one student, at the
Conservatoire
, and I don’t believe I’ve ever worked with a student on the Sonata. The
Sonata In C Minor
demands respect; one does not perform it in vain, one needs a precise
reason.
You’ve opted for relatively slow tempos…
A.C.
: Yes, for a more clarity and a certain logic. Music can be agitated without being
rapid. For me, tempos, the
liaisons
, the agogical indications are as important as the
notes. I concentrate on respecting the indications given by the composer, even if the
fingerings are sometimes very dangerous
.
Did becoming so immersed in these two Mozart works, scrutinizing them
before the recording sessions, lead to the discovery of new details?
A.C.
: Yes, certain
liaisons
, in fact, details I hadn’t noticed before; and if I lived to be 300,
I would continue discovering more things. This is our torment and at the same time our
consolation, because it is limitless. If death didn’t one day put an end to things, if one
had the time, one could continue eternally to discover things. Music is a never-ending
journey…