Fantasy K397 interpretations and reading

[adaubre]

I've noticed that the passage I've posted below seems to be commonly played in a way that does not match what is written.

On the manuscript excerpt I've posted, the 2nd bar in clearly shows a D and E with a staccato markings above them.  And yet, consistantly I hear people playing it legato.  Here are just two examples:

The question is:  seeing as so many people are playing this legato, and of course, seeing as my view on things is far from "perfect", I'm wondering if there are manuscripts out there that don't show the marking - or, that the marking is viewed as "optional" by many who are interpreting.

Another common angle on the D and E (and the other instances of the theme), is that it is played as a 32nd note rather than a 16th note.  In the example below (a very  mechanical interpretation in this case actually serves to highlight the point), the D, which is clearly written as a 16th note, is being played as a 32nd.   So the question is as above, is this a common approach to the D and E (and the other instances of the the theme)?

Do we not lose the dramatic affect of the moment if we play them a) Legato and b) as 32 notes?

Here is an interpretation which, still in my opinion fails to make the staccato note a "moment", but does play the notes as written: a 16th note.

adaubre

[birba]

My word! You really ARE a stickler on details!  Only teasing...
First, of all, there are all kinds of staccati.  I think you only have one kind in mind.  The touching-a-hot-iron one.  If you listen carefully, the first and last examples, especially, use a non-legato touch to that upbeat.  Even though there's pedal with it, you can hear that detached touch.  I, personally, feel that's what Mozart intended.  Forget about the 32nd note interpretation.  It belittles the phrasing and importance of that two note slur.
How would YOU play it?

[adaubre]

My word! You really ARE a stickler on details!  Only teasing...
First, of all, there are all kinds of staccati.  I think you only have one kind in mind.  The touching-a-hot-iron one.  If you listen carefully, the first and last examples, especially, use a non-legato touch to that upbeat.  Even though there's pedal with it, you can hear that detached touch.  I, personally, feel that's what Mozart intended.  Forget about the 32nd note interpretation.  It belittles the phrasing and importance of that two note slur.
How would YOU play it?

My interest in the details is only an interest in how people interpret the manuscript.  I personally love it when people play things differently and put themselves into the work and make it special.  I do the same.  But I also find it interesting to find out why people make these choices.

About the 32nd interpretation.  I play it as a 16th note without a pedal and allow the following legato notes to resolve the moment (so to speak).  When I have time I'll upload my playing of it (and then hold my breath as I prepare myself for the onslaught of valuable criticisms).

My feeling is when it is played as a 32nd and/or legato it completely loses its power and I actually find it to be out of character in the piece.  To me, that 16th note is special and it should be more than a subtle difference from the following to legato notes.

Thanks for your comments on this.

adaubre

[slow_concert_pianist]

I would play this as a 3/4 note, there certainly needs to be a break but it needs to be a "slightly less than full" legato.