Mozart and the Keyboard Culture of His Time

Mozart and the Keyboard Culture of His Time*

ROBERT D. LEVIN

Let us imagine for the moment that in 220 a !erformer"musi#o$ogist %ere in&ited to de$i&er the 'eynote address at a #onferen#e treating a $eading figure in the 'eyboard #u$ture of the !eriod from the ()*0s to the ())0s. +hose name %ou$d be an a!!ro!riate #ounter!art to that of ,o-art in the $ate eighteenth #entury. I sus!e#t that the !rime #andidates %ou$d be !ianists/ not #om!osers0from 1er'in/ Ri#hter/ ,i#he$ange$i/ Brende$ and 2rgeri#h to 3o$$ini/ Lu!o/ 3erahia/ 1#hiff/ 4#hida/ et#. +ith some ne#essary !rodding/ though not to this audien#e/ the names of Bi$son and his i$$ustrious dis#i!$es/ Lubin/ Lubimo&/ &an Immersee$/ 1taier/ et#. %ou$d emerge/ as %e$$ as se!arate #ategories for har!si#hordists and organists. If this is indeed the #ase/ !erha!s su#h a #onferen#e might not be organi-ed after a$$. +hat has ha!!ened in the inter&ening t%o #enturies. It is not that #om!osers ha&e #eased to %rite for the !iano. There %ou$d #ertain$y be strong #andidates for the honor in the first ha$f of the t%entieth #entury0Debussy/ Ra&e$/ Ra#hmaninoff/ Bart5'/ and 3ro'ofie& $ea! to mind0but from the se#ond ha$f of that #entury the sense of a 'eyboard #u$ture seems no $onger to be defined by #om!osers/ or rather #om!oser6!ianists/ as it on#e %as. Indeed/ the gu$f that emerged in the t%entieth #entury bet%een #om!osers and !erformers #annot be se!arated from that se!arating #om!osers and the genera$ !ub$i#/ and is sym!tomati# of $arger/ disturbing #u$tura$ issues.
* This essay is lightly adapted from the keynote address delivered at an eponymous conference at Cornell University on 28 March 200 !

"

Mozart and the Keyboard Culture of His Time The $ate eighteenth #entury %as !erha!s a more fortunate time/ %hen su#h #hasms had yet to emerge0a time %hen the aestheti# and !erforman#e a#ti&ities of an in#andes#ent #reator #ou$d sha!e the #u$ture so de#isi&e$y as to trans#end regiona$ and e&en nationa$ borders. That ,o-art7s 'eyboard musi# did this/ not on$y through its immediate im!a#t at his o%n hands/ but a$so through its inf$uen#e on Beetho&en/ 8umme$/ and ,ende$ssohn 9among others:/ is beyond doubt. 2s s!e#ifi#s are beyond the s#o!e of a short arti#$e/ I !ro!ose to offer an o&er&ie% of ,o-art7s a#ti&ities as !erformer and #om!oser.

Mozarts Artistic Persona

,o-art %as one of the fe% #om!oser6!erformers %ho thorough$y mastered both the &io$in and the !iano. That he $ater renoun#ed !ub$i# !erforman#e on the &io$in/ !referring the &io$a during his Vienna years/ !robab$y bes!ea's the #om!$e; re$ationshi! %ith his father. It ought to be a#'no%$edged/ ho%e&er/ that from the outset of his Wunderkind years he %as !araded before the !ub$i# as a 'eyboard !$ayer/ and his #areer as 'eyboard &irtuoso ref$e#ts a #onsistent tra<e#tory. 2n e&a$uation of ,o-art7s inf$uen#e on the 'eyboard #u$ture of his time %i$$ ne#essari$y ref$e#t a good dea$ of retros!e#tion/ #riti#ism/ and inter!retation. The on$y !ro!er starting !oint/ ho%e&er/ ought to be the !ers!e#ti&e of his #ontem!oraries. One of the most6#ited eye%itness re!orts is that of =ran- >a&er Niemets#he'?

In ans%er to a uni&ersa$ re@uest/ A,o-artB ga&e a !iano re#ita$ at a $arge #on#ert in the O!era 8ouse. The theatre had ne&er been so fu$$ as on this o##asionC ne&er had

Mozart and the Keyboard Culture of His Time there been su#h unanimous enthusiasm as that a%a'ened by his hea&en$y !$aying. +e did not/ in fa#t/ 'no% %hat to admire most/ %hether the e;traordinary #om!ositions or his e;traordinary !$ayingC together they made su#h an o&er%he$ming im!ression on us that %e fe$t %e had been be%it#hed. +hen ,o-art had finished the #on#ert he #ontinued im!ro&ising a$one on the !iano for ha$f6an6hour. +e %ere beside ourse$&es %ith <oy and ga&e &ent to our o&er%rought fee$ings in enthusiasti# a!!$ause. In rea$ity his im!ro&isations e;#eeded anything that #an be imagined in the %ay of !iano6!$aying/ as the highest degree of the #om!oser7s art %as #ombined %ith !erfe#tion of !$aying."

This a##ount ma'es #$ear %hat others #orroborate0that it %as ,o-art7s abi$ities as im!ro&iser that earned him $egendary status/ outshining e&en his re!utation as the finest !ianist of his time. 8is #om!ositions too' third !$a#e. I !ro!ose that %e first !onder %hat %e #an 'no% about his im!ro&isations and !erforman#es/ for it is mu#h easier to g$ean his &ie%s of the 'eyboard from an e;amination of his #om!ositions.

The Improviser

,o-art7s father trained him in the !erforman#e and #om!ositiona$ !rin#i!$es of the Baro@ue era. 8is !ub$i# #on#erts regu$ar$y in#$uded im!ro&isations0fantasies/ sets of &ariations/ and #aden-as and $ead6ins in #on#ertos. Our notions of these stem !rimari$y from im!ro&isatory #om!osed
"
! #ranz $aver %iemetschek &"'(()"8*+,- Life of Mozart &Leben des K. K. Kapellmeisters Wolfgang Gottlieb Mozart- "'+8,- translated .y Helen Mautner

/ith an introduction .y 0! Hyatt 1ing &2ondon3 2! Hyman- "+4(,- (!

Mozart and the Keyboard Culture of His Time musi#0the #aden-as he #om!osed for his sister and !u!i$s/ as %e$$ as his fantasies. ,ost of these %or's are metri#a$/ e;#e!t for f$ourishes before a fermata to unders#ore the drama of an arri&a$0either before a ne% se#tion in a fantasy/ or before the fina$ tri$$ in a #aden-a. +ere it not for ,o-art7s sister ,aria 2nna 9Nanner$:/ %e are un$i'e$y to ha&e 'no%n that ,o-art a$so im!ro&ised non6metri#a$ !re$udes. Nanner$ %as a fine !ianist/ but she $a#'ed the abi$ity to im!ro&ise. On se&era$ o##asions from (DD* to (DDE ,o-art #om!osed for her modu$ating !re$udes and other !seudo6im!ro&isations/ %hi#h she e&ident$y memori-ed and !erformed as if she %ere s!ontaneous$y in&enting them. It is most fortunate that most of these !ie#es sur&i&e. 2ty!i#a$ of ,o-art7s norma$ sty$e/ s#ar#e$y 'no%n and rare$y !erformed/ they gi&e us unusua$ insight into the %or$d of im!ro&isation in the $ate (DD0s.2 These !re$udes are easi$y redu#ib$e to a bass $ine %ith figures to re!resent the #hords/ %hi#h ha!!ens to be !re#ise$y the means by %hi#h Far$ 3hi$i!! Emanue$ Ba#h tea#hes im!ro&isation in the fina$ #ha!ter of his #e$ebrated Essay on the True Manner of Playing Keyboard Instruments. Ba#h !resents a &ariety of harmoni# formu$ae and some figuration to gi&e his reader a basi# &o#abu$ary/ and #on#$udes %ith a figured bass and a non6measured !re$ude based u!on it. The re$ationshi! bet%een it and ,o-art7s e;am!$es is unmista'ab$e. On#e he sett$ed in Vienna/ ,o-art7s !seudo6im!ro&isations %ere $imited to fantasies and #aden-as. 8e a!!arent$y taught the art of embe$$ishment/ as demonstrated by an e$aborate
2
! Cf! Neue Mozart-Ausgabe &henceforth NMA, 5$62'623 a! Modulating 7relude from # ma8or to C ma8or- 19 deest : 1!( 0nh! C "4!""; *)4; "*8)4"! The t/o sections have .een reprinted as a single unit in NMA 5$62' &Klavierstcke !and " und #,- critical report &Kritisc$er !eric$t- henceforth K!,- ed! <olfgang =ehm- 2"")"8; and in the recently pu.lished >?renreiter edition of the %inzelstcke fr Klavier &>0 4'*4,&1assel- 200",! .! #our 7reludes- 1! 28*a &formerly collectively kno/n as the Capriccio in C ma8or- 1! +46 00g,! 0 third prelude- discussed e@tensively in the family correspondence &"8 Auly B "0 Ceptem.er "''8,- has yet to surface! Cf! =o.ert D! 2evin- EMozartFs non)metrical key.oard preludes-G &$e Ke'board in !aro(ue %urope- ed! Christopher Hog/ood &Cam.ridge3 Cam.ridge University 7ress- 200 ,- "+8)2"(!

Translated .y <illiam A! Mitchell as %ssa' on t$e &rue Art of )la'ing Ke'board *nstruments &%e/ Hork3 <! <! %orton- "+*+,!

Mozart and the Keyboard Culture of His Time ornamentation by Barbara 3$oyer to the midd$e mo&ement of the 3iano Fon#erto in 2 ma<or/ K. GEEC* but %e ha&e no re#ord of his re#ourse to non6metri#a$ im!ro&isation or #om!osition after (DDE. To <udge from 3$oyer7s embe$$ishment of the midd$e mo&ement to K. GEE/ her tea#her7s im!ro&ised de#orations %ere #onsiderab$y more e$aborate than the most fan#ifu$ attem!ted by any !erformer today. 2s for ,o-art7s %ritten6out #aden-as and $ead6ins/ %hereas some of them are @uite de!endent on a se$e#tion of themes from the mo&ement !ro!er/ at $east one0again K. GEE0does not use a sing$e one of the memorab$e themes a&ai$ab$e.4 Farefu$ e;amination of their #ontent re&ea$s that/ as a ru$e/ &irtua$$y e&ery measure is ta'en dire#t$y from a s!e#ifi# s!ot/ and #itations that are ad<a#ent in the #aden-a may be as many as hundreds of measures a!art in the mo&ement. The re$ationshi! bet%een these a!!arent$y rigorous !seudo6im!ro&isations and those #on<ured u! by the master in $i&e #on#erts is $i'e$y to remain s!e#u$ati&e. The same may be said about ,o-art7s #om!osed fantasies and those he is $i'e$y to ha&e im!ro&ised. The rhetori# of the D6minor fantasy/ K. )D/ or the =antasy 93re$ude: in F ma<or/ K. )G/ in %hi#h !rimari$y metri#a$ dis#ourse is at times !un#tuated %ith non6metri#a$ !assages/ may be a better a!!ro;imation of %hat his $isteners are $i'e$y to ha&e heard than the =antasy in F minor/ K. GDH/ %hose &o$ati$e emotions are #hanne$ed into a more #ontro$$ed #om!ositiona$
* !
Ctaats.i.liothek zu >erlin- 7reussischer 1ultur.esitz- Mus. ms. "4*8(64! The document is reproduced- /ithout attri.ution- in the K! to the NMA edition of 1! *88 &96"46', prepared .y Hermann >eck- appearing in a diplomatic version /ith an additional staff that rationalizes the rhythms &pp! g6"0)"*,- as /ell as in facsimile &pp! g6"0()"0+,! Cu.seIuent to its pu.lication- <olfgang 7lath /as a.le to identify the hand/riting as that of >ar.ara 7loyer! Cf! NMA $6 062 &!arbara )lo'ers und +ranz ,akob +re'st-dtlers &$eorie- und Kompositionsstudien bei Mozart,- prepared .y Hellmut #ederhofer and 0lfred Mann- p! $!

The idea that opens the cadenza is in fact derived not from a similar)sounding passage in the concerto- .ut from the later of the t/o first)

movement cadenzas to the other 0)ma8or concerto- 1! *"*6 84p- /hich demonstra.ly lay on MozartFs desk during the composition of 1! *88! Cf! =o.ert D! 2evin- E1! *883 MozartFs Third Concerto for >ar.ara 7loyerJG in Mozartiana. &$e +estsc$rift for t$e .eventiet$ !irt$da' of )rofessor %bisa/a !in &200",3 444)'0; Aapanese translation- *4)4'3

Mozart and the Keyboard Culture of His Time en&ironment. Kn the other hand- many of his key.oard variations- /ith their stylized figurative em.ellishment and o.ligatory minore &for ma8or)key themes; maggiore for those in minor, and adagio variations- are Iuite possi.ly protocols of actual improvisations!

Mozarts Keyboard Instruments

Mozart /as acIuainted /ith and /rote for harpsichord- clavichord- organ- clock organ and piano! He /as also likely to have kno/n and played the tangent piano &&angentenflgel ,0an instrument /hose strings are struck .y o.long pieces of /oodthe shape of /hich is similar to that of harpsichord 8acks .ut /hich are positioned at a right angle to that of such 8acks! Mozart also /rote for the glass harmonica and

glockenspiel &the latter in 1ie 2auberfl3te,Lnon)key.oard instruments that nonetheless employ key.oard te@tures! 5n 9ienna he o/ned a clavichord- a piano .y 0nton <alterand a piano pedal).oard on /hich he is kno/n to have improvised in pu.lic!( <ith the possi.le e@ception of Aohann Ce.astian >ach- /hose overall instrumental insight and particular e@pertise in organ).uilding are /ell kno/n-

Donnerstag den "0ten M?rz "'84- /ird 6 Hr! 1apellmeister Mozart Die Mhre ha.en 6 in dem 6 k! k! %ational)Hof)Theater 6 eine 6 grosse

musikalische 0kademie 6 zu seinem 9ortheile 6 zu ge.en- /o.ey er nicht nur ein neues erst 6verfertigtes +orte piano-Konzert 6 spielen- sondern auch ein .esonders grosses 4 +orte piano )edal 6 .eym )$antasie- 6 ren ge.rauchen /ird! Die N.rigen CtNcke 6 /ird der groOe 0nschlagzettel am Tage sel.st 6 zeigen! Mozart. 1ie 1okumente seines Lebens. Gesammelt und erl-utert von 5tto %ric$ 1eutsc$ &NMA $6 *, &1assel etc!3 >?renreiter)9erlag- "+(",- 2"")"2!

Mozart and the Keyboard Culture of His Time together /ith his role in the design of the viola pomposa-' Mozart possessed unsurpassed connoisseurship of all instruments! His music reveals not only a total grasp of the techniIue of each instrument- .ut e@ploits to the full the characteristics of the instruments and voices at hand! This involves not merely the technical and tim.ral aspects of the instruments- .ut the specialized a.ilities of individual instrumentalists and singers! This uncanny aptitude may .e of considera.le help in attempting to divine the instrument for /hich an individual key.oard /ork may have .een conceived! %omenclature alone is surely not a relia.le key! Mozart designates the solo key.oard of his concertos as 6embalo &harpsichord, through 1! 40 &"'8',; in 1! 4 ' &"'88, it is +orte)iano and .y the final concerto- 1! 4+4- he uses the modern nomenclature )ianoforte! 0s noted- he performed his 9iennese concertos on a five)octave piano &ca! "'8", .y 0nton <alter; hence the retention of cembalo does not prescri.e the harpsichord! The plethora of dynamics in MozartFs solo and cham.er /orks for key.oard like/ise imply that he had the piano in mind! Colo /orks could .e played on a clavichord- /hich Mozart still possessed at his death- .ut the instrument /as not suita.le for pu.lic concerts or ensem.le /orks- to say nothing of concertos! MozartFs earliest solo key.oard /orksLthe individual pieces preserved from the Notenbc$er- the sonatas /ith violin accompaniment 1! ()+- "0)"48 and 2() " and the four pasticcio concertos 1! '- +)*" seem clearly intended for the harpsichord! Many of
' 8 ! !
Christoph <olff- ,o$ann .ebastian !ac$. &$e Learned Musician! &%e/ Hork and 2ondon3 <! <! %orton- 2000,- *"*! 0lso performa.le as trios /ith ad libitum Fcello!

'

Mozart and the Keyboard Culture of His Time

these pieces have an almost paralyzing dependence upon 0l.erti .asses! Houng as he /as- Mozart could not have overlooked the fact that melodies in eighth)notes and longer values /ould .e over/helmed acoustically .y the constant drone of left)hand si@teenths- even if the melody /ere to .e reinforced /ith additional stops! %onethelesshis earliest surviving original concertos- 1! "'4- 1! 2 8 and 1! 2*(- in /hich Mozart has /eaned himself from the dependence upon the 0l.erti .ass- are effective on the harpsichord! Despite the inscription 6oncerto per il 6lavicembalo- 1! "'4 could conceiva.ly have .een intended for organ! 5ts top note is d 7 and the treatment of the lo/er .ass rangeLin /hich lo/ > is demonstra.ly avoided .ut 0 is present- is congruent /ith the treatment of the organ in the epistle sonatas! 0lthough it /ould seem far)fetched that the 2odron family /ould possess three pianos in "''*- the first and second key.oard parts to the triple concerto 1! 2*2 contain changes from f to p /ithin passages of continuous thirty)seconds as /ell as numerous occurrences of fp; making performance on harpsichords pro.lematic! Piven MozartFs lifelong care to accommodate to the gifts of individual performers and specific instruments- it is Iuestiona.le /hether he /ould prescri.e split)second dynamic changes that might cause an@iety in even a seasoned professional- to say nothing of a Countess and her elder daughter!+ There seems $itt$e doubt that from the sonatas K. 2D)62EG on%ard ,o-art7s 'eyboard musi# %as geared to the !iano. This/ of #ourse/ does not mean today7s #on#ert grand. =rom the foregoing it shou$d be #$ear that ,o-art7s 'eyboard musi# is !re#ise$y gauged to the a#ousti#
+ !
The t/o crescendo markings in 1ey.oard 5- first movement- could .e e@ecuted on a harpsichord /ith 9enetian s/ell shutters or a machine stop-

as o.served .y =ichard Maunder in private correspondence- .ut instantaneous shifts /ithin a running passage- or the subito trill &1ey.oard 55- third movement- solo lead)in, could cause the mechanism to 8am!

on the resolution of a

Mozart and the Keyboard Culture of His Time #hara#teristi#s of the !ianos of his day. Ear$ier mode$s %ere doub$e6strung 9i.e./ t%o strings !er note:C gradua$$y/ tri!$e stringing %as introdu#ed in the treb$e for added !o%er. The !re#ision and #ris!ness of arti#u$ation of the har!si#hord/ %hose !$u#'ing a#tion is e;traordinari$y sensiti&e to the s!eed of atta#'/ is mirrored in Viennese !ianos/ in %hi#h a sma$$ tuning6for'6sha!ed meta$ #a!su$e is mounted to%ards the rear of the 'ey. The hammer shan' is he$d in !$a#e by a meta$ !in resting in dim!$es on ea#h arm of the for'ed #a!su$e. The shan' runs ba#'%ard to%ards the %rest !$an'C the hammer stri'es the string #$ose to the nut. 2t the rear of the 'ey an es#a!ement aids re!etition/ and most !ianos from the (DE0s on%ard ha&e a ba#' #he#' running <ust in front of the hammers/ %hi#h are @uite sma$$ and #o&ered by $eather. The $ightness and sim!$i#ity of this design/ together %ith the added &e$o#ity due to the re&erse !ositioning of the hammers #om!ared %ith the Eng$ish6=ren#h62meri#an design no% standard/ resu$t in an a#tion of great s!eed/ sensiti&ity/ !re#ision/ and effi#ien#y based on a 'ey di! and resistan#e %eight some H0 !er#ent of that of the !resent #on#ert grand. The faster hammer &e$o#ity !reser&es the #ris! arti#u$ation of the har!si#hord/ %hereas the stri'ing !oint0so #$ose to the end of the sounding string0yie$ds more fo#us to the sonority and gi&es ,o-art7s e;!ressi&e dissonan#es greater !ungen#y. The $esser string tension of an entire$y %ood frame resu$ts in a more ra!id sound de#ay. ,oreo&er/ the $onger and more thin$y %ound bass strings ha&e a $ighter sonority/ so that #hords in the $o%er register are far more trans!arent than on $ater instruments/ %here su#h #hords #an easi$y sound muddy e&en %ithout the !eda$. 2$$ of these fa#tors #ontribute to a timbre that is $ighter/ %ith greater !resen#e of higher o&ertones 9and $esser of the $o%er ones:/ and %hi#h is #a!ab$e of both de$i#a#y and tanginess. =ina$$y/ the fa#t that/ $i'e har!si#hords/ o$der !ianos ha&e !ara$$e$ stringing 9#ross stringing %as in&ented in the 4nited 1tates in the mid6nineteenth #entury: ma'es it !ossib$e to !$ay

Mozart and the Keyboard Culture of His Time both hands %ith e@ua$ strength %ithout the $eft hand o&er!o%ering the right."0 Today7s normati&e !ra#ti#e of $ightening the $eft hand and bringing out the right is unne#essary on ,o-art7s !iano and in fa#t undermines his #arefu$$y ba$an#ed te;tures. In a$$ of these res!e#ts !erformers !$aying on $ater instruments must ma'e ad<ustments that %i$$ be easier if they ha&e had the e;!erien#e of !$aying/ ho%e&er brief$y/ on a good @ua$ity !eriod !iano 9origina$ or #o!y:. Those of us %ho ha&e de&oted a #onsiderab$e amount of our $i&es to the redis#o&ery of eighteenth6 and nineteenth6 #entury musi# on !eriod !ianos are utter$y !ersuaded that the imagination of those #om!osers is de!$oyed %ith a#uity to the e;!$oitation of the a#ousti# o!!ortunities afforded by the instruments of their time. +e fee$ that %ere their musi# to sound more effe#ti&e on $ater instruments/ to that degree their ear and !ra#ti#a$ understanding might be #onsidered defi#ient. +e %ou$d argue/ ho%e&er/ that there is no need to %orry.

Pedaling

,o-art ne&er e;!$i#it$y #a$$s for the use of raising the dam!ers0i.e./ the !eda$. 8is +a$ter !iano on#e had a hand sto! to $ift the dam!ersC this has been re!$a#ed %ith 'nee $e&ers that are ty!i#a$ of Viennese !ianos of the time. ,i#hae$ Lat#ham has argued that the 'nee $e&ers %ere insta$$ed as !art of a grand ravalement in (E0H and therefore shou$d not be assumed for the e;e#ution of
"0 !
Cross stringing reduces the length of the .ass strings- reIuiring thicker copper /indings to preserve the lo/ pitch! This is responsi.le for the

muddier sound of the .ass referred to a.ove!

"0

Mozart and the Keyboard Culture of His Time ,o-art7s 'eyboard musi#."" Nonethe$ess/ most !erformers of ,o-art on !eriod !ianos argue from the e&iden#e of the musi# that he re#'oned %ith the use of dam!er raising 9!eda$:/"2 as im!$ied by the doub$e6stemmed $eft6hand !assage from the se#ond mo&ement of the 1onata in D/ K. ((/ mm. E*6)0."

!ample " ,o-art/ 3iano 1onata in D ma<or/ K. ((/ se#ond mo&ement/ mm. E*6)0

Litera$ !erforman#e of this !assage %ithout !eda$ is im!ossib$e e;#e!t for those %ith very $arge hands. In any #ase/ the $ighter/ #$earer sound of ,o-art7s !ianos ma'es a more s!aring use of !eda$ !ossib$e than is #ustomary on today7s instruments.

The Pedal#$oard

,o-art7s o%nershi! of a !eda$6board has $ed ine&itab$y to @uestions about ho% and %hen he used
"" "2
no!

! ! !

Michael 2atcham- EMozart and the 7ianos of Pa.riel 0nton <alter-G %arl' Music 24- no!

&"++',3 82)*02!

Cf! Mva >adura)Ckoda- EThe 0nton <alter fortepiano3 MozartFs .eloved concert instrumentL0 response to Michael 2atcham-G %arl' Music 28) *!

&2000,3 *(+)'*; Malcolm >ilson and David 0! Cutherland- EMozartQs <alter #ortepiano-G %arl' Music 2+- no! 2 &200",3

"

More generally- see David =o/land- A 8istor' of )ianoforte )edalling &Cam.ridge3 Cam.ridge University 7ress- "++ ,!

""

Mozart and the Keyboard Culture of His Time it."* E&iden#e for ,o-art7s use of the !eda$6board in his #om!osed musi# is not !arti#u$ar$y !ersuasi&e. It is %orth noting that the announ#ement of a subs#ri!tion #on#ert in %hi#h the !eda$6 board %ou$d be used"4 refers to it on$y for an im!ro&isation and not for a ne% #on#erto to be heard on the same o##asion. In the autogra!h of the D6minor #on#erto K. G**/ the nine beats of the first mo&ement that are often in&o'ed in su!!ort of the !eda$6board7s use dis!$ay a series of notationa$ $ayers indigenous to ,o-art7s #om!ositiona$ !ro#ess. It is more $i'e$y that %hat is found in those measures is a series of a$ternati&es/ not a tota$ te;ture. It is re$e&ant here to !onder se&era$ ana$ogous #ases of %or's ,o-art #om!osed for s!e#ia$ instruments? (. The Fon#erto for =$ute and 8ar!/ K. 2))"2)D#. Its f$utist/ Fount de Iuines/ had a tai$6 !ie#e enab$ing him to !$ay t%o e;tra notes at the bottom of the instrument/ d-flat and c / that
1 1

%ere not a&ai$ab$e to norma$ !$ayers of the time. 2t $east one of the e;tra notes a!!ears in ea#h of the three mo&ements of the #on#erto.

2. The F$arinet Juintet in 2/ K. HE(/ the F$arinet Fon#erto in 2/ K. *22/ and se&era$ fragments %ere %ritten for 2nton 1tad$er/ %ho de&ised an e;tension to his instrument that e;tended its range four semi6tones $o%er. It is #ommon$y agreed that these e;tra notes are used !er&asi&e$y throughout these %or's. If ,o-art intended to use his !eda$6board for the e;e#ution of his #on#ertos/ his do#umented abi$ities on the organ %ou$d ha&e made a #om!$ete$y inde!endent !eda$ !art !ossib$e and $i'e$y. This %ou$d ha&e added #onsiderab$y to the &irtuosity of the #on#ertos and %ou$d ha&e garnered attention and a!!re#iation. 1ure$y he %ou$d not ha&e em!$oyed the !eda$6
"* "4 ! !
Cession 9 of the Cornell Conference- EThree 7edal Claviers3 2essons R 5mplications-G chaired .y David >reitman and featuring a concert .y David Hearsley and Aohn 1houri- /as Iuite thought)provoking- though it left at least as many Iuestions as it provided ans/ers! Cf! n! (!

"2

Mozart and the Keyboard Culture of His Time board for a mere fi&e notes in K. G**. Then/ too/ there are enough !assages in the #on#ertos %ith bass $ines in o#ta&es to @uestion notions that the !ur!ose of the !eda$6board %ou$d ha&e been $imited to reinfor#ing the bass. +ere that the #ase/ su#h o#ta&e notation %ou$d ha&e been su!erf$uous. This is not to say that ,o-art notated e&erything he intended to !$ay in the #on#ertos. +e 'no% %e$$ that he #ontented himse$f %ith out$ining the outer notes of right6hand ar!eggios and other !assage%or' at times/ and simi$ar$y %rote s'et#hy &ersions of me$odies that #ou$d be e$aborated ane% in ea#h !erforman#e. Ii&en !resent 'no%$edge/ though/ it %ou$d seem to re@uire a $ea! of faith to !osit the use of the !eda$6board in an ad libitum manner that rests u!on nothing more so$id than the !resen#e of K. G**7s debatab$e fi&e notes.

Tuning

E@ua$ tem!erament/ %hi#h di&ides the o#ta&e into t%e$&e e@ua$ semi6tones/ has #onstituted the normati&e tuning system for %e$$ o&er one hundred and fifty years. ,usi#ians !$aying on standard instruments use e@ua$ tem!erament as a basi# frame of referen#e/ %ith signifi#ant de&iations. Keyboard instruments are tuned in e@ua$ tem!erament/ but the o#ta&es are stret#hed in the interest of bri$$ian#e in the u!!er register/ #om!ounding the #om!romise inherent in the system. 1tring 9and/ to a $esser e;tent/ %ind and brass: !$ayers re$y on $ate nineteenth6#entury notions of shar!ing $eading tones and #hromati#a$$y raised !it#hes and f$atting subdominants and #hromati#a$$y $o%ered !it#hes. 9The resu$t #auses $eading tones to be doub$y out of tune/ as the tem!ered $eading tone is a$ready shar! to the natura$ ma<or third.:

"

Mozart and the Keyboard Culture of His Time In ,o-art7s time 'eyboard instruments %ere tuned in a number of #om!romise tem!eraments/ in %hi#h some tona$ities %ere more !ure/ others $ess so/ gi&ing the #hords of ea#h 'ey a different and #hara#teristi# sonority deri&ing from their re$ati&e a#ousti# !urity or dissonan#e. 1u#h tem!eraments/ %hi#h are sus#e!tib$e of #onsiderab$e a$teration and in&ention/ are often named after the musi#ians %ho de&ised them/ e.g./ +er#'meister/ Kirnberger/ and Va$$otti. The resu$t %as a uni@ue f$a&or for ea#h 'ey/ %hi#h enab$ed those %ithout !erfe#t !it#h to ha&e a sense of the distan#e of a foreign 'ey from the !rin#i!a$ one. =a$se re!rises thus sounded as !e#u$iar to the $istener as they $oo'ed on the !age.

Continuo

Keyboard so$oists in ,o-art7s time a##om!anied the or#hestra during the or#hestra$ ritorne$$os. In e&ery one of his %or's in&o$&ing 'eyboard and or#hestra ,o-art dire#ts the so$oist to doub$e the string bass $ine 9not the &io$on#e$$o $ine %hen this di&erges from the doub$e basses/ or the bassoon %hen the basses are si$ent: in or#hestra$ !assages/ thus de$ineating a #ontinuo ro$e for the so$oist. The ear$ier #on#ertos !ro&ide figuration of the bass during su#h or#hestra$ se#tionsC these figures %ere often 9but not a$%ays: su!!$ied subse@uent$y by his father. 2$though $ater #on#erto autogra!hs omit the figures/ the #on&ention is !reser&ed by the indi#ation abbre&iation ol!. The &a$idity and re$e&an#e of this !ra#ti#e to !resent6day !erforman#e has been atta#'ed for %e$$ o&er a #entury on se&era$ grounds? It is said to undermine the essentia$ nature of a #on#erto/ &i-./ the #ontest bet%een ol !a"o or its

"*

Mozart and the Keyboard Culture of His Time so$oist and or#hestraC The bass6$ine and figures are no% deemed to ha&e been mere #ues for the so$oist to fo$$o% the !rogress of the %or' during !ure$y or#hestra$ se#tions/ thus #orres!onding to the short s#ore sim!$ifi#ation of the or#hestra$ musi# that a!!ears in the so$o 'eyboard !arts of nineteenth6#entury #on#ertosC The main !ur!ose of #ontinuo !$aying %as to 'ee! the or#hestra together0a fun#tion that %as $ater ta'en o&er by the #ondu#tor and thus $a#'s re$e&an#e in !resent6day !erforman#es. These fa#tors %ou$d sure$y be no $ess im!ortant/ ho%e&er/ in !assages for %inds or for strings %hen the string basses are si$ent0!$a#es %here ,o-art does not !res#ribe #ontinuo. There is/ then/ no #om!e$$ing do#umentary e&iden#e against a #ontinuo ro$e for the so$oist. +here ,o-art !res#ribes #ontinuo/ he in&o'es the fu$$ range of a##om!animenta$ !ossibi$ities? harmoni# and"or $inear te;tures/ tasto solo 9the bass $ine on$y: and o#ta&e doub$ing of the bass. During many so$o !assages ,o-art a##om!anies an a#ti&e right hand by doub$ing the bass %ith sing$e notes in the $eft hand. There is no e&iden#e/ ho%e&er/ that he e;!e#ted the so$oist to add #ontinuo6$i'e #hords in su#h !assagesC indeed/ the e;isten#e of many notated !assages #ontaining $eft6hand #hords may be the strongest argument against su!!$ying them %here they are missing.

Mozarts %tyle

Viennese F$assi#ism is often #onsidered a high6%ater mar' of musi# history. In #ontem!$ating

"4

Mozart and the Keyboard Culture of His Time $ong6term histori#a$ de&e$o!ments %e #an see the #oa$es#ing of a number of tenden#ies. The !o%er of tona$ harmony/ used a$ongside other o!tions for o&er t%o hundred years !rior to the 8igh Baro@ue/ be#ame the #entra$ &erna#u$ar at the turn of the eighteenth #entury/ !romu$gated in Ita$y and eager$y ta'en u! e$se%here. The dire#t dis#ourse of rhythmi#a$$y distin#ti&e and often #at#hy moti&es/ another #ontem!orary Ita$ian trademar'/ a$$o%ed for greater definition of #hara#ter. These de&e$o!ments %ere easi$y a!!$ied to the !re&ai$ing !o$y!honi# dis#ourse/ %hi#h fa&ored #ontinuity o&er $o#a$ inf$e#tion and #u$minated in ma<or #aden#es on$y in mid6 to $ong6 term. The so$e e;#e!tions %ere dan#es and mar#hes/ %hose shorter $ength fa&ored a sense of $o#a$ referen#e. ,a<or"minor tona$ity !ro&ides a strong !aradigm to a so!histi#ated $istener/ but a $ay audien#e needs more fre@uent orientation. The normati&e four6measure !hrases %ith ba$an#ed ante#edents and #onse@uents of F$assi#a$ !eriod musi#/ the origins of %hi#h are to be found in the dan#e/ !ro&ide <ust that. Virtua$$y e&ery fe% se#onds in a F$assi#a$ a$$egro the audien#e is as'ed a @uestion or !resented %ith a reso$ution/ or/ $ess fre@uent$y/ %ith a sur!rise. The resu$tant sense of e;!e#tation a$$o%s a $istener dire#t and #onstant intera#tion %ith the #ourse of the !ie#e. The adroit #om!oser fu$fi$$s that e;!e#tation most of the time/ in !re#ise$y the %ay a shar' %ith three %a$nut she$$s and a !ea $ets the #orner bystander %in unti$ the sta'es are raised. The de&e$o!ment of sonata form is a #on#omitant e$ement in this aestheti#. The di#hotomy of ha$f and !erfe#t #aden#e of the G6K6G6measure !eriod is e;tended to a !rimary and se#ondary grou!/ and the dramati# e$ement of sedu#tion or es#a!e #an animate the e;!osition/ e&en as the disorder of the de&e$o!ment se#tion mimi#s the turbu$en#e of rea$ $ife. The e@ui&a$en#e of the arri&a$ at the re#a!itu$ation %ith the moment of se$f6re&e$ation in 2ristote$ian drama %as manifest to #ontem!orary #om!osers/ !erformers/ and $isteners a$i'e. "(

Mozart and the Keyboard Culture of His Time 2s aus!i#ious as these de&e$o!ments %ere/ they brought !rob$ems. No musi#a$ sty$e/ not e&en the !om! of the =ren#h Baro@ue/ is so re!$ete %ith #$i#hLs. The gra#e of the a!!oggiaturas/ the regu$arity of the four6bar !hrases/ the de!enden#e on de&i#es su#h as the a$ready6ma$igned 2$berti bass/ the numbing !redi#tabi$ity of the #adentia$ formu$ae0 a$$ of these !rodu#ed a musi# fu$$ of #urtseys and ga$$antry that %as for the most !art either &a!id or do%nright stu$tifying. That %e $oo' u!on the era different$y is be#ause a handfu$ of astounding masters %ere ab$e to ta'e this dross and turn it into a $anguage of mira#u$ous intensity. ,a'e no mista'e about it/ though/ it %as mu#h more diffi#u$t to su##eed in ma'ing the F$assi#a$ sty$e e;!ressi&e than %e a#'no%$edge/ for 8aydn and ,o-art ha&e s!oi$ed us utter$y/ abetted by Beetho&en and 1#hubert. +ithin su#h $imitations ,o-art7s a#hie&ement is a$$ the more remar'ab$e. Li'e Te$emann/ he %as a so!histi#ate %ith a #osmo!o$itan !a$ate. 8is musi#a$ $anguage resu$ted from an abi$ity to absorb the #ru#ia$ attributes of the best musi# he heard and #reate a synthesis that he #ou$d s$ant to nationa$ sty$es/ %riting =ren#h/ Ita$ian or Ierman musi# at %i$$. 4n$i'e Te$emann/ ho%e&er/ he %as not #ontent to %rite sua&e$y and g$ib$y. +e need ha&e no i$$usions about thisC des!ite his a!!arent$y effort$ess fa#i$ity/ he %or'ed assiduous$y/ e&ident$y dri&en by a <ustified be$ief in his o%n su!eriority. 8is musi#/ $i'e 8aydn7s/ %ou$d ha&e been the greatest of its era had it been one6ha$f or e&en !erha!s one6tenth as e$o@uent as it is. Loo'ing ba#' at his #uvre %e may sing$e out se&era$ attributes that are of determining im!ortan#e to ,o-art7s $anguage.

(. 8e has a su!er$ati&e sense of the narrati&e and the dramati#. In the o!eras %e mar&e$ at his abi$ity to de$ineate #hara#terC that abi$ity is e;!$oited in the instrumenta$ %or's as %e$$. The "'

Mozart and the Keyboard Culture of His Time me$ody/ rhythm/ te;ture/ and harmony of ,o-art7s musi# de&e$o! a #hara#ter and !ur!ose to e&ery !hrase that ser&es mu$ti$e&e$ dramati# ends/ from $o#a$ to $ong6term. To that end/ he de&e$o!s a hierar#hi#a$ net%or' of moti&es and se#tions that is demonstrab$y more #om!$e; than that of any other #om!oser in the +estern #anon. The hierar#hy does not re@uire the $istener to be a%are of its intri#a#ies/ but $ies behind the sense of dire#tion and the a%areness of e&ents !ast and anti#i!ated. That sense of dire#tion guides us seeming$y ineffab$y to the !redetermined end. That ,o-art a#ti&e$y and de$iberate$y #ontro$s his ar#hite#ture is #onfirmed by the fa#t that he is the on$y o!era #om!oser in history %ho i$$ustrated the #onse@uen#e of the 2ristote$ian !re#e!t of the unity of time/ !$a#e/ and a#tion by ending his o!eras in the same 'ey in %hi#h they began. ,o-art7s fas#ination %ith figures/ the #ounting of measures in #ertain of his autogra!hs and the s'et#h6$eaf #ontaining the bar #ounts of the su##essi&e numbers in $ie Entf%hrung aus dem &erail $ea&e no doubt about his use of and a%areness of #om!$e; !ro#edures. The more of this %e understand/ of #ourse/ the more %e sense of his mira#u$ous genius. 2. 2 subt$e sour#e of the !oten#y of ,o-art7s $anguage resides in his #onser&atism in #hoi#e of 'eys. No mu$timo&ement instrumenta$ %or' of his uses a 'ey signature of more than four shar!s or three f$ats. 8e !referred the so#ia$ tension of auda#ious modu$ations %ithin normati&e origins to the b$andishments of the e;oti#. 8aydn7s #hoi#e of far6f$ung tona$ities for the s$o% mo&ements of many of his $ater #om!ositions/ emu$ated by Beetho&en/ he$d no a!!ea$ for ,o-art. 2 modu$ation to =M ma<or in the first mo&ement of the F6minor !iano #on#erto K. G)( interested him mu#h more. . ,o-art7s musi# dis!$ays a rest$essness of in&ention that threatens to resemb$e 2ttention Defi#ien#y Disorder. +e ha&e on$y to e;amine the #onstant$y #hanging or#hestra$

"8

Mozart and the Keyboard Culture of His Time a##om!animent !atterns in the !iano #on#ertos0sometimes as many as three %ithin a sing$e !hrase. +ith e&ery su#h #hange #omes a nuan#e of #hara#ter. 2#ute$y a%are of the myriad manifestations of human beha&ior/ he su##eeded in mirroring them in an im!u$si&e musi#a$ $anguage. To my mind/ the emba$ming of that $anguage by b$an'eting its rhetori# in !er!etua$ $o&e$iness and refinement0a ha$$mar' of many !erformers of the $ast #entury0&erges on the #rimina$. G. Friti#a$ to a$$ of this is ,o-art7s sense of rhythm/ %hi#h dis!$ays a f$uidity so natura$/ so f$e;ib$e/ that it is un$i'e$y e&er to be sur!assed. ,essiaen/ for one/ mar&e$ed at it. The effe#t of ,o-art7s #ontinuous inf$e#tion is heightened by #om!aring the se#ond mo&ement of 8aydn7s 1onata in E6f$at ma<or/ 8ob. >V?G) %ith ,o-art7s 3iano 1onata in D ma<or/ K. HD*? both use a simi$ar theme.

!ample &a 8aydn? 3iano 1onata in E6f$at ma<or/ 8ob. >VI?G)/ se#ond mo&ement/ beginning

!ample &b ,o-art? 3iano 1onata in D ma<or/ K. HD*/ se#ond mo&ement/ beginning

"+

Mozart and the Keyboard Culture of His Time

The !oint here is not to find fau$t %ith 8aydn7s mar&e$ous mo&ement/ for that %ou$d #ondemn him for fai$ing to ado!t a strategy he did not %ish to em!$oy. The !auses in his musi# are as essentia$ to its ama$gamation of tenderness and %it as ,o-art7s filo to his #ombination of e@ua$ tenderness %ith a me$an#ho$y nosta$gia.

Mozarts Keyboard 'riting

,o-art7s ear$iest 1a$-burg 'eyboard !ie#es sho% galant #ontours o&er Baro@ue bass $ines. They are by no means addi#ted to the 2$berti bass/ as are the sonatas from K. * on%ard. 8a&ing su##umbed to that de&i#e %ith a &engean#e/ he must ha&e rea$i-ed soon enough that f$e;ibi$ity of e;!ression #ou$d not be a#hie&ed %ith a de&i#e as me#hani#a$0and loud. +hat is @uite !e#u$iar is ho% $itt$e 'eyboard musi# ,o-art #om!osed after the grand tour in the mid6(D*0s. It remains une;!$ained %hy the young man/ %ho %as #om!osing arias and

20

Mozart and the Keyboard Culture of His Time %ho$e o!eras/ %ou$d #hoose in (D*E to arrange sonata mo&ements by other #om!osers rather than %riting his o%n #on#ertos/ or %hy his first sur&i&ing origina$ #on#erto dates from as $ate as (DD / and his first sur&i&ing so$o sonatas from as $ate as (DDH. +hat %e see in those sonatas is #onsiderab$e f$air in defining a &ariety of #hara#ters and #o$ors/ a f$e;ibi$ity of 'eyboard te;tures that de$ineate a range from @uiet intros!e#tion to the sym!honi# bust$e of K. 2EG7s o!ening mo&ement. In the si; %or's/ ,o-art7s determined use of the dynami# resour#es of the !iano #reates a &oi#e of #onsiderab$e and e;!ressi&e so!histi#ation. The #on#ertos of this !eriod are $ess !rogressi&e in this res!e#tC it is not unti$ the %atershed of the Fon#erto in E6f$at/ K. 2D( that this #hanges. The choice of C minor for K. 271s middle movementmirrored in the 1779 sinfonia concertante for violin and viola, K. 364/32 d, also in the !e" of #$flathas %recedents in s&ch 'or!s as the ($ma)or sonata K. 2* , 'hose middle movement is in ( minor. The de%th and +readth of feelin, in K. 271/ii, ho'ever, are arrestin,, and it is %erha%s an"thin, +&t coincidental that the harmonic and melodic content of the dominant %edal 'ithin the reca%it&lation is -&oted in the dominant %edal that ends the develo%ment of the first movement of the C$minor concerto, K. 491.(* This 'ill not +e the last time .o/art en,a,es in rema!es.(D 0es%ite the fact that a ma)orit" of .o/arts solo !e"+oard %ieces 'ere 'ritten 'ith commerce in vie', certain sonatas, variations, and individ&al %ieces clearl" reflected serio&s artistic commitment. The most remar!a+le of these is the 1$minor sonata, K. 31 , 'ritten in 2aris in 177* and, &nli!e virt&all" the totalit" of his m&sic, s&rel" %reci%itated +" e3ternal circ&mstancesin this

"( "'

! !

Cf! 1! 2'"- second movement- mm! +()"00; 1! *+"- first movement- mm! 4*)(2! #or e@ample- the finale of the Ctring Suintet in C ma8or- 1! 4"4- is unmistaka.ly .ased on that of the Dissonant Suartet- 1! *(4- in the same

key; and the insertion of an 0)flat)ma8or minuet in the finale of 1! 2'" is revived in that of the 7iano Concerto- 1! *82- like/ise in M)flat! These are not isolated cases!

2"

Mozart and the Keyboard Culture of His Time case the death of his mother. (or its sheer violence, ra,e, and des%air, K. 31 !no's no e-&al in his solo 'or!s. The )&3ta%osition in the first$movement develo%ment of ff and %% is li!e'ise &n%recedented, and is devastatin,l" coordinated 'ith the scale de,rees of the circle of fifths to %rod&ce a sense of terror that antici%ates the tales of 2oe. 4imilarl", the distended, )a,,ed left$hand lea%s of the finale sho' the artist s%innin, o&t of control in a manner that .o/art 'ill not ever a,ain reveal. The se#ond mo&ement of the sonata re&ea$s another as!e#t of ,o-art7s musi#a$ !ersona$ity0his astonishing $ong6term memory. In (D*E he arranged Nohann 1#hobert7s 1onata O!. >VII No. 2 as the se#ond mo&ement of his se#ond 'asticcio #on#erto in B6f$at/ K. ). The ingredients of the mo&ement #onsist of an as#ending triad in the $eft hand and a tri!$et ostinato in the right. This #ombination &eers amusing$y #$ose to the !o!u$ar musi# of the ()H0s after the doub$e bar/ but #ontains a #hara#teristi# #ir#$e6of6fifth se@uen#e in D minor that is #$ear$y re!rised in K. (0"ii/ #om!osed ten years after K. ). =urthermore/ this #ombination of as#ending =6ma<or triad and tri!$ets is ta'en u! by ,o-art a third time/ in (DEH/ %hen he added a trans#endent me$ody to the te;ture/ %hi#h a$$ the ,u-a'6a$ dissemination in the %or$d #annot sub&ert. I refer/ of #ourse/ to the se#ond mo&ement of the C#ma(or piano concerto K) *+,) 5" the earl" 6ienna "ears .o/arts !e"+oard st"le had attained an &r+anit" and fle3i+ilit" that !ne' fe' e-&als. 7e had solved the accom%animent %ro+lem +" creatin, d"namic interaction +et'een the t'o hands. (or e3am%le, a s&dden %a&se in the left hand sends the ri,ht hand into a fl&rr" of fei,ned em+arrassment, as occ&rs t'ice at the +e,innin, of the first movement of the 4onata in 5$flat, K. 333.

22

Mozart and the Keyboard Culture of His Time

!ample - ,o-art/ 3iano 1onata in B6f$at ma<or/ K. / first mo&ement/ beginning

Mozart and the Keyboard Culture of His Time The fina$e of the same sonata is the e@ui&a$ent of Ba#h7s Ita$ian Fon#erto/ B+V )D(/ re!$i#ating a #on#erto rondo/ #om!$ete %ith #aden-a. =rom (DEG to (DE* it is the !iano #on#erto that dominates ,o-art7s 'eyboard thin'ing. E;#e!t for the ambitious demands of K. GH0 and K. GH(/ %hi#h ,o-art himse$f des#ribed as ma'ing the !erformer s%eat/ he ne&er sought to e@ua$ the more ath$eti# sty$e of a Ko-e$u#h. 8is %riting is #ertain$y diffi#u$t/ but mu#h more due to e;!ressi&e ri#hness and %eight than te#hni#a$ strain. It is !re#ise$y that ri#hness that e$i#its the sensua$ity of his dis#ourse %ith a harmoni# &o#abu$ary so subt$e and &ariegated that Beetho&en7s res!onse %as not to imitate it/ but to !are it do%n to the abso$ute basi#s. In <a-- !ar$an#e/ ,o-art7s #hanges had fe% ad&o#ates/ and on$y a &estigia$ !resen#e #an be dis#erned in #ertain !assages of his a$ready6#ited a#o$ytes/ 8umme$ and ,ende$ssohn. 2 fas#inating as!e#t of ,o-art7s 'eyboard sty$e is the degree to %hi#h his initia$ ideas !rom!t him to sim!$ify $ater/ not for the sa'e of im!ro&ement but more $i'e$y be#ause he %as undoubted$y too !ressed for time to !ra#ti#e for the im!ending #on#ert. De&i$ish !assages in K. GH0 9in#$uding a tri!$et s#a$e and tri$$ in doub$e thirds:/ K. GH(/ and K. G*D %ere re!$a#ed %ith e$egant sim!$ifi#ations that are not ne#essari$y im!ro&ements. shou$d be a%are of these/ for %e/ at $east/ #an find the !ra#ti#e time that e$uded him. +e

2*

Mozart and the Keyboard Culture of His Time ,o-art7s $ate 'eyboard sty$e emerges not in the #on#ertos/ but in the 26ma<or &io$in sonata K. H2* and the sonatas K. H and K. HD*. The inf$uen#e of N. 1. Ba#h had been

immediate in (DE2/ but it is from (DED on%ard that !o$y!hony be#omes organi# to ,o-art7s $anguage/ !ro&iding it %ith both strength and dee!ened !ersona$ity. The !ure t%o6!art te;ture of his $ate 'eyboard %riting is the u$timate &i#tory o&er the #hi$d7s #$i#hLd $abors/ and #$oses the #ir#$e by bringing ,o-art ba#' to the musi#a$ time immediate$y !re#eding his birth. Drafts of unfinished !iano sonatas sho% that he intended to mo&e further in that dire#tion.

Performance
2$though ea#h age e;e#utes musi# from an ear$ier !eriod a##ording to its o%n ideas/ the nineteenth6#entury &ie% of ,o-art as the embodiment of gra#e and e$egan#e/ #ou!$ed %ith the !ost6Fho!in !redi$e#tion for singing $egato !$aying/ remains the !resent6day norm/ and not <ust for !ianists. It is !ianists abo&e a$$/ ho%e&er/ %ho tend to minimi-e or ignore #om!$ete$y ,o-art7s sta##ato arti#u$ations and detai$ed s$urring/ ho$ding notes into rests and/ in genera$/ !ro&iding as #ontinuous a smooth surfa#e as !ossib$e. 9The ad&ent of 4rte;t editions has not !re&ented !erformers from #ontinuing to im!ose a $ate nineteenth6#entury aestheti# on ,o-art7s musi#.: =urthermore/ the de#$ine of im!ro&isation as a #entra$ e$ement in #on#ert $ife and the u$timate se!aration of musi#ians into !erformers and #om!osers/ a$ready bemoaned/ ha&e fostered !erforman#es/ as %e$$ as editions/ based on $itera$ readings of the #om!oser7s te;t. This en#ourages a !ietisti# a!!roa#h to a musi# %hose a#tua$ substan#e is theatri#a$/ not de#orati&e. +e ha&e seen that ,o-art %as abo&e a$$ a dramatist? his !erforman#es %ere #ro%ned by his im!ro&isations and %ere de!endent on the s!ontaneous rea$i-ation of a musi#a$ surfa#e he often 24

Mozart and the Keyboard Culture of His Time $eft some%hat bare. This a$$o%ed him the ne#essary freedom to s$ant the #hara#teri-ation of a gi&en !erforman#e in a !arti#u$ar dire#tion. +hat %e 'no% about $ate eighteenth6#entury !erforman#e !ra#ti#e and ,o-art7s !ersona$ity suggests that #a!ri#ious s!ontaneity %as at the #ore of his !erforman#es/ %ith the e$ement of ris' at the forefront. +e must remember the ne%ness of musi# during his day/ %hen fe% !ie#es %ere e&er heard more than on#e. The #on#e!t of re!ertoire did not e;ist. 3erha!s/ then/ ,o-art7s most signifi#ant #ontribution to the 'eyboard #u$ture of his time arose from his unri&a$ed abi$ity to harness his immense musi#a$ inte$$e#t/ his o&er%he$ming fa#i$ity at the !iano/ his !rodigious memory/ and abo&e a$$ his sub$ime understanding of human nature/ freed from the need to <udge his fe$$o% human beings/ to the goa$ of #ommuni#ating a %or$d of teeming emotions. E&erything about that !ro#ess %as dire#ted to the fer&or of the momentC and that moment sho%s e&ery sign of being eterna$.

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