A question on fingering

[persona]

What fingers should I use to play the mayor A's marked in red? My common sense tells me 1-2-5, but given the previous and subsequent notes, I find it much more comfortable to use 2-3-5.
In general, is it ok not to use "standard" fingering for triads that have a black key on their bass note (with RH, or black key on their high note with LH), or should one always use fingers 1 - 2or3 - 5, no matter what comes before or after the triad?
By the way, this belongs to the first movement of Motzart's Piano Sonata in Mayor D. So, any help please?

[pianistimo]

you are set up to play 2-3 by the previous four notes.  but, not everyone's hands are large.  so - you can switch around if necessary, i would think.

[persona]

My hands are pretty large, and I can play 2-3-5 without a problem. But would this be considered "wrong"? I mean, would a proffesional pianist do so, or would he/she play 1-2-5 anyway?

[stevehopwood]

My hands are pretty large, and I can play 2-3-5 without a problem. But would this be considered "wrong"? I mean, would a proffesional pianist do so, or would he/she play 1-2-5 anyway?

This is what a professional pianist who plays this Mozart sonata does.

3-2 on the first quaver because my thumb lands on the previous semiquaver D. I switch then to 5-2-1 because it gives me more control over the little crescendo I want through the quavers towards the crotchet.

Hands big enough to add the A without changing hand position can easily play 5-3-2. There is nothing wrong with doing this, except that the thumb might tighten and tense the rest of your hand, making the semiquavers at the end of the bar a little harder to play smoothly. Avoid this, and there is no problem with 5-3-2.

Steve 

[franz_]

2-3-5  , and the D'C after you use 3-2

[daniloperusina]

You are allowed to do whatever you want with fingering.
The point of fingering is not to create a set of rules, like "this is how you finger this sort of passage in Mozart", much to the contrary!
Instead of rules, think about fingering philosofy. Read Horowitz' (not Vladimir!) interview-book with Arrau; find Schnabel's writings on the subject. You'd be surprised at what "liberties" they allowed themselves! Schnabel, for example, was scrupulous in finding a fingering that allowed him to express his musical interpretation.

As stevehopwood points out, you choose the fingering that serves your musical purpose the most. In the passage you quote, there are several points: you need to be able to control the voicing of the right-hand chord (bring out the top A), as well as crescendo or diminuendo, according to your interpretation. When I played this sonata I used the same as stevehopwood for the same reasons that he does; to control the chord better. And I have a big hand, stretching a tenth comfortably.

You have to decide yourself which fingering to choose, be creative, and pay close attention to which one makes you be in greater command of the musical flow.