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Mozart K.284c
#3039417 10/26/20 06:02 AM
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A friend lost her copy of a piece she used to play years ago, the Mozart Sonata in D, K.284c. I downloaded a couple of copies of it from IMSLP, one by Schirmer, and the other an urtext from Peters. Comparing just the first four measures, I was shocked to see how the Schirmer edition had simplified the right hand pretty drastically. I'm no Mozart fan (to put it mildly), but I would think that if you were serious about his music, you'd try to stick as close to his original intentions as possible. Why did Schirmer make these changes?

Here are the first four measures from the Peters edition:
[Linked Image]

Here are the first four measures from the Schirmer edition:
[Linked Image]

Last edited by Mark Alexander; 10/26/20 06:03 AM.

1994 M&H BB; Yamaha N1X
Debussy: Images Bk.1 #1-2, Préludes Bk.2 #1,#6; Brahms: Op. 119 #3,#4; Ravel: Le Tombeau de Couperin, Prélude; Bolcom: Graceful Ghost Rag
Re: Mozart K.284c
Mark Alexander #3039419 10/26/20 06:11 AM
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They only wrote out the apoggiaturas, which I believe many older editions did.

Re: Mozart K.284c
Mark Alexander #3039429 10/26/20 06:43 AM
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So is writing out the apoggiaturas going to result in exactly the same thing when played? I would have thought the two versions would sound slightly different. I'm not an expert on music from this period, so I'm speaking from ignorance here -- sorry!


1994 M&H BB; Yamaha N1X
Debussy: Images Bk.1 #1-2, Préludes Bk.2 #1,#6; Brahms: Op. 119 #3,#4; Ravel: Le Tombeau de Couperin, Prélude; Bolcom: Graceful Ghost Rag
Re: Mozart K.284c
Mark Alexander #3039438 10/26/20 07:25 AM
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Originally Posted by Mark Alexander
So is writing out the apoggiaturas going to result in exactly the same thing when played? I would have thought the two versions would sound slightly different. I'm not an expert on music from this period, so I'm speaking from ignorance here -- sorry!

The Peters is more faithfull since it reproduces the original autograph. It leaves the opportunity for the player to interpret the appogiatura as he/she see fit. The Schirmer edition provided their interpretation of the sign, but it does leave some information out, as for example knowing that there is an appogiatura, you may want to slightly adjust the accentuation. In bar 4, some pianists would play it differently than notated by Schirmer. And then the issue is that you dont know what other changes Schirmer may have done, their edition is dated. So I guess, for advanced pianists it is better to use a more recent urtext edition.

Re: Mozart K.284c
Mark Alexander #3039482 10/26/20 10:33 AM
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Originally Posted by Mark Alexander
So is writing out the apoggiaturas going to result in exactly the same thing when played?

Yes, they should sound the same unless, as the performer, you consciously intend a different interpretation. The Peters autograph was the way it was originally written; there are harmonic reasons for it having been written that way, and performers at the time would have known how to play it as written. Schirmer just wrote out the appogiaturas in long hand, so to speak; it's less confusing for modern day students especially those unfamilar with how Mozart (and other contemporary composers) did their notation. The more significant change in the Schirmer is the addition of slurs, crescendo & decrescendo marks - Mozart did not include many of these kind of interpretive marks in his music.

Last edited by Pianosearcher; 10/26/20 10:37 AM.
Re: Mozart K.284c
Mark Alexander #3040552 10/29/20 06:34 AM
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Thanks, all! My ignorance is reduced by a tiny bit.


1994 M&H BB; Yamaha N1X
Debussy: Images Bk.1 #1-2, Préludes Bk.2 #1,#6; Brahms: Op. 119 #3,#4; Ravel: Le Tombeau de Couperin, Prélude; Bolcom: Graceful Ghost Rag
Re: Mozart K.284c
Mark Alexander #3040622 10/29/20 10:32 AM
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This is K.311 BTW. 😀

Last edited by johnstaf; 10/29/20 10:33 AM.

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