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The reason why quite a few teachers say that Mozart is hard is because a of a few reasons:

1. Mozart's piano was different to ours, it was just being developed, it was small, depressing the keys felt very different and the sound was smaller. A number of people disregard that today and a lot of the time it is overplayed.

2. Textually, Mozart's music is quite thin. It's easier to stuff up and sound obvious. Every note and nuance has to be played with precision because you can't 'cover it up,' in a way it's very exposed.

3. Mozart is described to be 'perfection' he very cleverly transports from learned style to galant to strum and drang to emfindsamer stil very seamlessly.

4. From time to time you hear this: Mozart was of course THE child prodigy. And so only an 8 year old or 80 year old can interpret him well. Thing is, there are a number of myths on Mozart, so I don't really like this statement.

Having said that I don't think dodging the hard stuff is the right approach. I think any good teacher would know what to listen for in terms of interpretation and technique so that s/he can guide the student accordingly. Just not playing the hard stuff because it's hard is just silly.

Just because we can perform something, it doesn't mean we can also teach it.

Okay, maybe we can teach......um....let's say, the notes of this piece...or we can dwell on different facets of it. But how these facets blend to create an expressive end? That's what stumps me when teaching Mozart.

I know 12 of his piano sonatas very well, and wouldn't hesitate to put any one of them on a live program. But I will only teach 3 of them. I know 4 concertos well. I only feel comfortable teaching one, and maybe 2 movements from another.

If a student displays exceptional sensitivity, or already has a sense of conviction concerning these pieces, I sometimes will make an exception - and just be a guide. Otherwise, I will recommend another teacher for those pieces.

I also hate teaching Mozart unless working with someone VERY advanced who loves his music and understands what is involved.

Problems:

1) When played well, Mozart sounds really easy.

2) It does not sound difficult, so when it is really well-played, most people are not impressed.

A good example is the recording linked to in this thread.

Lhevinne, to me, is simply amazing in this recording, and the fact that she was 80 at the time shows how little aging spoils a sound technique when a performer remains healthy.

So if someone, already playing well, said, "I love this concerto. Can we work on it?"

My immediate answer would be: "Yes! Let's go!!!"

But I would not recommend it to someone does not seem to me fully ready for it, both technically and temperamentally.

OTOH, the 2nd movement of several sonatas make great worship music, and are definitely worth the student's time and effort to master.

I love several 2nd movements. The problem is selling the 2nd movements to students! With all the speed demons I teach, they all want to learn the 1st movement or 3rd movement. I've only taught two 2nd movements of Mozart sonatas.

However, I do teach Mozart pretty frequently.

That's funny because I've learned the first movement, skipped the second one and am gearing up for the third.

My teacher agreed to teach me the piece. Even though she doesn't like Mozart or teaching it, she LOVED the piece when she listened to it.

Thanks all for helping me with my question!

Tonal Harmony

He played with such aplomb and masculinity (not how Mozart is usually played at all).. with great finesse.