Mozart Sonata No. 16 in C Major K545

[neverfinished]

Hi,

I'm looking at a music minor in college and the audition requirement is two play two pieces of contrasting styles/eras. One of my pieces will be this Mozart Sonata Facile.

I know just about all the notes for memory, but am looking for advice on HOW to play it. I've noticed that pianists haven't always followed the instructions in my score. My score has measure 5(the beginning of the scales) as forte. Eschenbach plays this softly, so that he can play each scale louder the last. Also, my score says to play measure 18 of the first movement forte. Eschenbach plays it softly so that he can build over the next few measures to play the A more or less forte in measure 22. In the second movement, in places like measure 8, in some recordings, the pianist plays the D C# C ritardando, which isn't in the score. Lastly,what about the staccato marks on the B's and D's in the last few measures of the second movement? I can't hear these in the recordings. Is my Nathan Broder edition mistaken, or are professional pianists interpreting beyond what's in the score?

I've sampled several recordings(hated Gould's) and found a few that I liked, but none stood out as the best. Is there a stand out recording that would serve me well as a model?

[elenka]

for Mozart's music there's always the same rule: to play it softly and not like it was Beethoven or Liszt. Don't exagerate with the speed, it's not necessarly true that Mozart = high speed that's a common mistake. I used to play that sonata, it's very cute Ensure to make every sound clear, use the colors nd dynamics you have on the sheet

[pianoyutube]

My score has measure 5(the beginning of the scales) as forte.

Mine has bar 5 as piano. Every scale (every bar) has crescendo and diminuendo. <>

Also, my score says to play measure 18 of the first movement forte.

I have mf

In the second movement, in places like measure 8, in some recordings, the pianist plays the D C# C ritardando, which isn't in the score. Lastly,what about the staccato marks on the B's and D's in the last few measures of the second movement? I can't hear these in the recordings. Is my Nathan Broder edition mistaken, or are professional pianists interpreting beyond what's in the score?

I think the professional pianists are interpreting beyond what's in the score, as you say. And if you compare different publishers, you'll always find several differences in the score.

I've sampled several recordings(hated Gould's) and found a few that I liked, but none stood out as the best. Is there a stand out recording that would serve me well as a model?

IMHO, that model doesn't exist in any piece. You are free to play your version.