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So what's so hard about Mozart (for you?) Comments, anyone?


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Hi everyone,

Actually, I am playing K423, Victor.

And I have had experiece playing Mozart before-

Sonatas, but more as a member of the orchestra,

the last thing we played was the beautiful

concertante for violin/viola. But I know I have

a lot to learn!

I live in Germany, and I am not sure what

we call brush stroke here- I have a nice

spicatto going and can get the bow

to spring nicely on 16th notes (Springbogen)

But I have trouble combining the "bouncy" notes

(sorry, don't know english word)with notes

that are played longer just before the bouncy note.

(like two tied, two bouncy)

Either I crash down on the short notes or

I don't get enough momentum going and it

stays flat.

My teacher once said that she would rather

play Paganini in an audition instead of Mozart!

Because if you play those thirds badly, you

just make a fool out of yourself.

A good Mozart-violist told me that Mozart played

without joy is not worth playing at all.


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It would have been easier to find your question here and relate it to its precedents if you had inserted it just below Victor's (Ortega) last response-provided he uses a true e-mail address. Then this would have continued an existing chain of conversation.

I think you have answered your own question, and adean and I (to some extent) have also given appropriate responses and described the results of a proper brush stroke. A brush stroke is a controlled off-string "spicatto" with gradually and delicately approached beginning and end (I hope I'm right, adean). If you could gently swing a brush to play the string, and get the sound, it would be a brush stroke. You really need a teacher or coach, and as far as I am concerned, almost all connections between differently bowed notes in Mozart as as tricky as you find the transition between legato and off-string or even worse, between off-string and legato notes.

The thirds are "killyers" because if they are not tempered exactly the totally destroy the intonation and thus the entire performance. Our ears are more tolerant of other "chords."

Television is wonderful (here in the US) because it gives one many opportunities each year to see Mozart performed well and to study what the players are doing to get the effects. A good live concert will do it for you too, if you can get close enough to see and if you don't mind going entirely left brain, so as to analyze it rather than enjoy the music.

The "opportunity" to see an amateur group that lacks professional "finish" perform will show you instantly what all the fuss about Mozart being hard is all about. However, playing in such a group will not teach you the lessons that observing one will.


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