Hi Riga,Mozart is my favorite, and I like what you are trying to do so far--good start! My suggestions:The tempo sounds uneven. This is not an easy little piece to play smoothly. Remember Mozart's comment about his own music --it should flow "like warm hog's p--s." Not such a pretty analogy but it works! Think long lines in the melody, beautiful phrasing, NO choppiness. Keep your left hand accompaniment softer. (I know sometimes it's the recording.)Think of this movement as ONE, not as many little phrases. Have fun, and keep up the good work--it's going to be lovely!Teresa
agreed with theresa about the tempo needing some metronome work. not to make it robotic but more 'flowing' and connected. when dealing with rhythms, you have to break it down to the smallest component and become naziish about preciseness. you could count everything the first sightreading through as '1 e and a 2 e and a' ... otherwise the dotted notes will all be slightly different. that is bad bad. what you want is an effortless conciseness in each repetition of a rhythm or dynamic. in my dover score, also, someone put in the dynamics of p for the first half of the measure (m4) and forte for the second half. same for measure five. but on measure six it is still p for the second half of the measure. measure 7 grows to forte. measure 8 is piano. all this alteration of tempo makes the czerny-like attitude more exciting and turns it into mozart.also, at measure 9 - i have the bass note as forte and the thirds piano.
Hmmm, interesting question about the operatic roles! Mozart was "operatic" in his style, so it's a valid idea. You could think about the different moods of the voices as they come in, the idea being to imbue them with dynamics and phrasing and not have a bland, boring rendition.But unity and sameness are not the same thing. I was thinking, this movement is brief, with a lot of rhythmic variation, and could sound choppy without a sense of unity. You want shifts in dynamics, but with a continuous undercurrent that keeps it all on one moving wave, so to speak. The LH bass (you are right, no Alberti in this one, but lovely repeating arpeggios) can do this, by being steady in tempo in the background, while your voices in the RH float above, as operatic as they wannabe. (It's fine to do a bit of agogic shifting in a slow melody line in Mozart, but he himself said, keep the tempo steady in the bass.)Hope that helps! Keep having fun--Teresa
Maybe it's just me, but I think the trills should be faster.