Mozart and the Pianist: A Guide for Performers and Teachers to Mozart's Major Works for Solo Piano. . - Books - book review

Mozart and the Pianist: A Guide for Performers and Teachers to Mozart's Major Works for Solo Piano, by the agency of Michael Davidson. Kahn & Averill (IPG, 814 N Franklin St Chicago IL 60610) 2001 363 pp $32

Unlike the Badura-Skodas' Interpreting Mozart upon the Keyboard, organized by interpretive issues, the not absent volume considers each of Mozart's major keyboard solo works separately. Hence, the sum of two units volumes complement each other nicely. Michael Davidson presents ample commentary on matters of form, expression, articulation, dynamics and time in all the sonatas, rondos, several variation plants and assorted individual pieces--sometimes, alas, to the expansion that creativity, exploration and discussion may be squelched.

No individual doubts the value of precise interpretive suggestions ("no pedal here," "more ornamentation is hardly needed" and the like). on the other hand too many times the author uses phrases like "more correct" (as if matters of ornamentation were not endlessly debatable) and accompanys to impart too much significance to the musical body (in the spirit of our age, which wait ons to overemphasize the role of the Urtext) interpreting each nonexistence of a slur as prima facie evidence that the passage in question could not possibly be played legato. Almost each page yields debatable theses--as in, for example, his contention that the eighth notes of the fugue control of K. 394 should be played non legato or his avoidance of a D-natural/D-sharp clash between the upper voices of beat three in measure twenty-one of K 283/ii--but that doesn't mean the volume is worthless!

Far from it. The author's words throw out erudition and passion. But my recommendation is to close attention his commentary on discrete pieces individual at a time (Don't read this work cover to cover, for heaven's sake.), identify the issues he addresses and then not fear debating or coming to different conclusions, especially if you're already familiar with other scholarly true copys such as Mario Mercado's The Evolution of Mozart Pianistic mode of expression To his credit, Davidson admires the fortepianists, especially Malcolm Bilson, and is eager to incorporate their revelations about Mozart's musical language into the discussion. His other major pianistic influence is Lili Kraus, strange bedfellow indeed of Bilson's, on the other hand a healthy sign the author has broad tastes. Especially valuable are the hinted listening ideas, as, for example, to listen to Le nozze di Figaro when studying K 332 Reviewed by the agency of John Salmon, Greensboro, North Carolina.

COPYRIGHT 2002 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group