Taught by renowned pianist
Sara Davis Buechner
Mozart was famous for his melodies, and the first movement of his F Major Sonata, K. 332, is full of them. Join Sara Davis Buechner as she shows you how to make your fingers sing in this memorable piece.<br><br>Buechner shows how Mozart opens with the simplest and most elegant of lines before answering with a hint of counterpoint, offering advice on executing Mozart's slurs to achieve a singing line. The second theme anticipates Verdi's Rigoletto, and Buechner reveals techniques for generating lyrical, operatic phrases. Technically the work presents challenges of polyrhythms and legato double-notes, each of which can be mastered through specific practice techniques that Buechner demonstrates.<br><br>The piece is a dramatic narrative, and Buechner insists on understanding the drama of the work's unfolding thematic and tonal relationships as the key to fashioning a compelling interpretation.
Sonata in F Major, K. 332 – I. Allegro
Mozart was famous for his melodies, and the first movement of his F Major Sonata, K. 332, is full of them. Join Sara Davis Buechner as she shows you how to make your fingers sing in this memorable piece.
Buechner shows how Mozart opens with the simplest and most elegant of lines before answering with a hint of counterpoint, offering advice on executing Mozart's slurs to achieve a singing line. The second theme anticipates Verdi's Rigoletto, and Buechner reveals techniques for generating lyrical, operatic phrases. Technically the work presents challenges of polyrhythms and legato double-notes, each of which can be mastered through specific practice techniques that Buechner demonstrates.
The piece is a dramatic narrative, and Buechner insists on understanding the drama of the work's unfolding thematic and tonal relationships as the key to fashioning a compelling interpretation.
Sonata in F Major, K. 332 – II. Adagio
The second movement of Mozart's popular F Major Sonata, K. 332, is one of his most beautiful Adagios, organized in what Buechner describes as "soprano aria form." Consulting different editions can aid in crafting an informed, and original interpretation, but a proper Urtext is necessary for viewing Mozart's notated ornaments in the repeated A-section of this da capo aria for piano.
Imitating a soprano at the piano is not just a right-hand affair. The left hand, serving as the accompanist, must adjust rhythmically to accommodate the breath and nuance of the upper voice. Finally, when decorating the piece, Buechner recommends taking a cue from Mozart's notated ornaments, while inventing your own in good taste.
Sonata in F Major, K. 332 – III. Allegro assai
For those who deny the virtuosity of Mozart's Piano Sonatas, the last movement of the F Major Sonata, K. 332, serves as a refutation. Buechner demonstrates how to develop speed, and considers the technical fine-tuning required to execute Mozart's rapid figurations.
As the piece whirls about, Mozart presents a series of brief musical challenges – hemiola, grace notes, hidden counterpoint, special voicings, forte-piano dynamics, and dramatic pauses – each of which must be addressed carefully in turn. Buechner offers practice strategies for each, while unveiling the color and character infusing this suspenseful work and highlighting those special moments that support the work's masterpiece status.
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