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Hi all, long time no see !

The fingering in this part 3, 1, 2 has me thinking if the rest should be the same, or if it should be: 3,1,2,1,2 and then 3,1,2,1,2

This is Mozart's K.545 at the very beginning.

As always thanks for your valuable help!

HI Jose,

This question would be better in the Pianists Corner or similar, because it would attract more attention from the kind of people you want.

However, in my view, it makes no difference whether you use the third finger here or not. You could alternate, as suggested, or you could use the third all the way along, you could use the 2nd on the C-sharp, then the C-natural and third on the B that follows. As long as you can get it to sound musical and fluent, that's what's important here. There are some cases where you have little alternative but to use a suggested fingering, perhaps because it's the only one that fits, or the musical effect is better, but this isn't one of these cases. Try and play it with as little 'action' as possible, keep it like a murmer, not like bullets. No heaviness. This is my opinion based on my own practical experience. Someone else is free to disagree.

Using 3 helps you to make a slight accent on the C# and C, which makes sense both melodically and metrically.

Dan, personally I wouldn't want to accent this anyway, but you could accent it with the 2 as well as the 3 if you wanted to, don't you think?

Hey Joe, sure 2 could work just as well. Ultimately, how it sounds is the only thing that matters, how you get there is a matter of taste & physiology. Personally, I would use 3. This way I could keep a consistent movement with 1 and 2 (I don't feel like I'm describing that very well), but that's just me.

None of the above. Use 3-1-2-1-3-1-2-1. The reasons are straight forward: this is a teaching sonata; this is trill preparation; students need to learn rotating fingers, as advanced music often calls/demands it. Eventually, you'll need to learn 5-4 trills, 3-4 trills etc.

HI Dan, yeah these things are a matter of taste, and life would be terribly boring if we all played the same way. I love the fact there is so much freedom to choose how to play. I like to play Mozart quite romantically (not overly so), but I also love Glenn Gould's dryish Baroque take on it even if it's not something that's in my psyche to do.

John, I've never heard of that fingering and for that reason before but I see your point. I have had a look at your website. Sorry to read about your health.

I agree completely.

I think it was Horowitz that said 'You have to play your Mozart like Chopin, and your Chopin like Mozart.'

Horowitz also said 'My face is my passport'!

Horowitz was a wonderful pianist, and he managed to convince his followers, through his playing, that his interpretation was definitive. He himself would never say that about his playing, but his devotees can't see past him. It's easy to understand why. At his best, he has this purity of sound, this cantilena that no other pianist has, the dynamic contrasts, the fluidity in the phrasing, the sheer personality of it all, and a belief that he was at least always trying to present the music as honestly as he could. I like the way that he never went for 'correct' interpretation. In fact, when Horowitz played, he was selling HIMSELF, and I think that's a very honest way to do it because none of us know how Mozart played etc.

At his worst, well, his worst is still way better than my worst so I don't want to comment!