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The End of an Era: Keith Jarrett's Return to his Roots
Keith Jarrett, one of the greatest musicians and profilistic pianists of our time, has recently announced that he will no longer be able to hold up his career as a performer. Now 75, he suffered a pair of draining strokes two years ago that left his left side paralyzed and resulting in an unability to play the piano. The recently released "Budapest Concert" - a return to his grandparents' native country Hungary - is likely one of Jarrett's final recorded public solo piano recitals. Read more >>

Topic: Interpreting Mozart's slurs/phrase marks  (Read 590 times)

Offline c_minor

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Interpreting Mozart's slurs/phrase marks
on: March 26, 2020, 12:49:15 PM
I'm currently learning the K. 282 sonata and wondering about how some of the slurs/phrase marks should be played. For example, some of the runs in the third movement are separated into two groups (even though it looks like it should be one phrase only). If I try to break them, it sounds hiccupy.

I did some research online and here are some of the things I've read:
  • The markings are based on violin bowings, which doesn't sound disconnected on the violin.
  • There should be a slight gap in sound between the markings.

I also studied some Bach Inventions, and my teacher demonstrated a touch which sounds a bit like a two note slur except that it also sounds connected. I have been trying to imitate that, but it's too difficult to produce. I'm wondering if this is the sound I should be aiming for in the Mozart.

I understand that the ear should be the guide in playing music; however, I'm curious as to why Mozart chose to notate his music that way.

Your insights are appreciated.