The Mozart Style
HAD heard of Paul Badura-Skoda’s illustrated talk on Mozart playing and had thought I had missed it. I was delighted, therefore, to pick it up in one of Owen Jensen’s Mozart bicentenary programmes, and quite excellent it
was. Badura-Skoda speaks well, in a strong, though perfectly intelligible Viennese accent, and no one would -have imagined it was an impromptu piece, spoken instead of the interview he had expected. He attacked Gieseking’s dictum that no pedal should be used in playing Mozart, for, as he pointed out, pedals were well known to Mozart, and he frequently explored their interpretative possibilities. On Mozart style, he was most illuminating. The tone is rarely #; the range is from pp to F, and the transition is clear, direct and prec se, one moment p, the next f, in the classical manner. He cemonstrated the nonlegato touch which he regards as essential for Mozart passage work, first playing a well-known phrase legato, and very pleasant it sounded, then non-legato, with a minute space between each note, which quite transformed it.
B.E.G.
M.
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New Zealand Listener, Volume 35, Issue 899, 26 October 1956, Page 16
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179The Mozart Style New Zealand Listener, Volume 35, Issue 899, 26 October 1956, Page 16
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