MOZART, Wolfgang Amadeus
Concerto for Piano and Orchestra No. 20 in D minor K 466 (orchestral part reduced for piano)
I. Allegro
Mikhail Voskresensky, guest professor
Pablo Márquez, student
Juan Barahona, accompanying pianist
At the beginning, Voskresensky stops him to point out two technical issues: repeated notes sound better when played with different fingers. The second is that when he starts playing, he moves his wrist too much, causing the sound to be marcato when it should be legato tenuto. There should be a more horizontal connection between the fingers and the sound. Afterwards, the student resumes the performance with brief comments from the professor along the way. When he finishes performing the movement, the professor comments that he liked how he played the first theme, even though he has to improve the legato. He analyzes the structure of this theme, indicating the appropriate phrasing, and asks the student to sing it to be aware of imitating that sound with the piano, “singing” more with his fingers. At a certain moment, it should sound very kind, because it is replicating what the oboe and bassoon are playing. In a certain part, he must play the melody, even if it is formed with a scale, not as a technical passage. The appoggiatura, in classical music (Mozart, Beethoven, and even Chopin) should go on the strong part of the beat, and the trills should be performed by the upper note, unless the trill starts the piece, or if the upper note is the same as the previous note.
In the development, the theme is repeated three times, but not exactly the same; these small changes must be highlighted for the listener. The professor also corrects certain errors in some notes on the score. Regarding the pedal, it is solo, he should not play only with half-pedal. At the end, he gives the student some dynamic indication: it should sound more piano tenuto (it is Mozart, not Bartók).
Language: English
