I break all of the rules with Mozart. I over-romanticize it, and let me tell you, there is nothing wrong with that. If it fits the piece, by all means, I think pianists should be given the chance to experiment.
It disgusts me when people say that a certain pianist's interpretation is "not right".
They say that because they don't know nothing about music and those who composed it
In the accademic snobbery of the 80's (that is now fortunately fading) teachers judging composition work used to mark as error score where there were few notation or interpretation notation
They said that this is a sign of lack of professionality ad the esecutors can't know how do you want your own music to sound if you don't put an interpretation notation on each bar
What these teacher didn't realize in their snobbery is that all past composer always put very few notation and intepretation notation in their scores
That was for a simple reason that has been working from baroque till 60's, simple the composer want his piece to always sound different according to who play it
In fact in the classical and romantic period it was an "error" not to use your own personal intepretation to the piece
During baroque improvisation was required and expected in every piece from Bach to Scarlatti and it was considered an error not to improvize in baroque music durin an exam
Let's hope all this ignorance of the new schools, accedemies and teachers will fade completely soon so that we can back to study and creating music instead of shut the whole accademic music in a iron tower away from the "ignorant" world while destroying the meaning of music with accademic mannerism and phylological snobbis
If Mozart hadn't have been so worried about what the audiences of the time would think of his music, he probably would have written much differently. Just look at the introduction to his Dissonance String Quartet. It sounds like Schonberg! Atleast for that one time, he didn't care about what people would think, and composed what he wanted to compose.
I don't agree
If you read a good Mozart biography you will see there are a lot of letters of him to his father while he laments that sometimes what he want to compose is not what people want (he complaints about people disliking long adagio movements in his letters) but that he would never compose what people like but what he likes despite if it liked or not
In fact, the Concerto for Harp and Flute was order by a noble gentleman whoe daughter studies with Mozart
The person who order the concerto explain Mozart a lot about how he wanted this piece to sound but Mozart (writes in a letter) that he didn't liked that ideas and wanted to compose something completely different even though that would have made mad the orderer
So, Mozart was not a composer who composed what he didn't want to compose just to match people tastes, quite the contrary
I don't see what the deal is with Mozart using dissonances
There nothing strange, dissonances was non invented by Schonberg and they were widely used even in gregorian music
Dissonances was utilized as a tension to be resolved in tonality assonances and I think this is a far more effective utilize of dissonance than serialism
Surely Mozart would have never liked to hear or compose something similar to a Boulez piece so no, forget about him wanted to compose serial music but instead ended up to compose in a different style
Mozart composed what he wanted to compose
Even before becoming famous (because despite what the movie says he did was famous before dying) he composed in that style
So even when "what people think of my music" was not important or was not even in his thought he composed in his unique style that you can fin on his camera and symphonic music
But it has been showed by his letter to his father that Mozart didn't give a *** what people thought of his works, he composed them because that was what he wanted to compose and what he liked
Daniel
Topic: Mozart music lovers and bashers....