Exploring the Repertoire: Mozart
Since 2015 I’ve hosted a series for piano teachers called, “Exploring the Repertoire” at The Art of Piano Pedagogy on Facebook. 3-4 times a year we pick a theme (Women Composers, Bartok, Bach, Sonatinas, etc.) and discuss teaching strategies, favorite pieces, share student and teacher performances, etc.
For our most recent edition, our theme was W. A. Mozart. Mozart can often appear simple on the page. The materials he uses are primarily scales, arpeggios, appogiaturas, and alberti basses. But underneath the surface his music is remarkably complex with sophisticated counterpoint, irregular phrase lengths, thematic transformations, and rhythmic and harmonic ambiguity. This makes him a great challenge for the developing artist.
In addition to moderating I recorded 22 short pieces that are appropriate for late elementary to intermediate students. They are not as rigorously perfected as if I were preparing for a concert or professional recording, but I hope they can act as a good reference.
Who was Mozart?
Mozart was born on January 27th, 1756 and died shortly before his 36th birthday on December 5, 1791. His full name was Johannes Chrysostomus Wolfgangus Theophilus Mozart, but he preferred Wolfie. Despite his short life span he composed over 600 works. His relationship with his father Leopold was complicated. Leopold was an important violin teacher and court composer in Salzburg. Mozart displayed truly prodigious musical talent at a young age and when Wolfgang was six, Leopold made the decision to hit the road with Wolfie and his older sister Nannerl.
The tour remains shrouded in legend but by all accounts Wolfie lived up to his reputation. He could play, sight read, and improvise as well as any adult. He performed for just about every notable monarch and aristocrat in Western Europe and was knighted by the Pope. His father was a deeply religious man and believed that Wolfgang was evidence that miracles existed (and also that he was a cash cow).
As Mozart grew older their relationship became fraught. In his late teens and twenties, after the shine of being a wunderkind wore off Leopold was still trying to control every aspect of Wolfgang’s life, including his love life. In 1777 Mozart made the fateful decision to resign as Chapel Master in Salzburg against his father’s council. The Archbishop was a miserable man who hated music and treated Wolfgang deplorably. With this act Wolfgang became the first successful freelance musician in history.
He slept an average of four hours a night, played concerts, taught, and composed masterpiece after masterpiece, writing faster than most copyists can copy. Sketches are few. He did most of his composing in his head and then wrote it out in one go. He also loved word play, billiards, and dancing and had a pet starling who would sing a theme from the Piano Concerto No. 17 in G, K. 453. His marriage to Constanze, against his father’s objections, was largely a happy one despite the death of four children (a sadly common occurrence in the 18th Century) and some infidelity. She outlived him by half a century and their two children, who made it to adulthood, lived happy, uneventful lives.
Mozart was not a pauper when he died, as Hollywood would have you believe, and he was not poisoned by Salieri (although “Amadeus” is a fabulous play and film). The exact cause of his death is unclear, but there is substantial evidence that he suffered a head injury more than a year previous to his death and later died from the blood letting prescribed by his doctors after coming down with an illness (quite possibly strep).
He wrote 22 Operas, 23 Piano Concertos, 41 Symphonies, 12 Violin Concertos, 25 String Quartets, 15 Masses, 18 Piano Sonatas, as well as Concert Arias, Dances, Divertimenti, Serenades, and every other genre popular at the time.
For more information on Mozart’s life I highly recommend Maynard Solomon’s Biography and Robert Greenberg’s Audio Course (excerpted above). I do not recommend Peter Gay’s biography as I found it to be a snooze fest.
Mozart’s Works for Keyboard
Early Compositions
Mozart’s easiest works are generally those he wrote as a child. While none have the originality and profundity of his mature music they already display a mastery of compositional techniques and are as good as, if not better than, much of what was being published contemporaneously.
They are written in the Galant style, popular at the time, for the harpsichord. J.C. Bach, whom Mozart met in London is the strongest influence. Ornamentation would have been expected and I have tried to give an idea of what that might have sounded like in my recordings.
Nannerl’s Notebook
Nannerl was four year’s older than Wolfgang and was remarkably talented in her own right. Leopold put together a Notebook of progressively difficult compositions and exercises for her to study. It is here that we find Mozart’s earliest compositions, hand notated and edited by Leopold. Depending on who you ask Wolfgang was between five and seven years old when the earliest pieces were composed (Leopold was already in the habit of lying about Wolfie’s age).
Menuet and Trio K. 1 (1e)
Originally thought to be Mozart’s first composition it was likely his fifth.
Allegro in F K. 1 C
A delightful little March
Allegro in Bb K. 3
Menuet in F K. 4
Likely a composition exercise Leopold probably wrote the bass line and Wolfgang the melody. J.S Bach did similar exercises with his children.
Menuet in F K. 5
Written a month later this work already shows remarkable growth. And it is a delight to play!
Two Minuets K. 6
Usually taught separately, these two minuets were written to be played as a pair. The C major would have been followed by the F and then C would would return without the repeats.
Menuet K. 7 was a favorite in the Mozart household and later incorporated into his first published work: “Two Sonatas for Harpsichord with Violin Accompaniment”. The ornaments in the repeats were added by Mozart for a later version.
The London Notebook
While living in Chelsea Mozart kept a notebook containing 43 untitled pieces and sketches. In them we see the nine year old Mozart gaining increasing confidence in his craft experimenting with phrase structure, thematic development, and the minor toality.
He was gravely ill for a period of his London and may have used the notebook to keep himself occupied. Leopold expresses considerable concern in his letters as to how much money this prolonged illness was costing him.
K. 15 ll
K. 15 mm
K. 15 pp
Mature Short Compositions
In addition to Mozart’s early works there are many short compositions suitable for intermediate pianists. Some are original for the fortepiano, others are transcriptions (likely by the composer) of his orchestral music.
Andante in C and Larghetto in F
Two beautiful pieces posthumously published in 1800.
March Funebre (Del Signor Maestro Contrapuncto)
Is written in the style of a French Overture and was a musical joke written for one of his talented students, Barbara Player.
Contradances I and II 269b
English country peasant dances were extremely popular with the aristocracy in Mozart’s time. These are two examples of Mozart’s creations in the genre.
Menuet in C k. 315 g
The first of a set of eight minuets composed in 1779
Rondo in C K. 334 (320b)
Is an arrangement on a movement from the “Divertimento in D” for strings and horns.
Adagio in C for Glass Harmonica K. 356 (617a)
Composed for Marianne Kirchgessner, a blind glass harmonica player, this work is bittersweet.
German Dance K. 605 n. 3
Is a transcription of one of Mozart’s final works for orchestra. The trio section is accompanied in the original by sleigh bells and makes a nice stand alone piece for late elementary students.
Adagio in B minor K. 540
Is a genuine masterwork. Technically it is not too difficult which makes it a good choice for adults and emotionally mature teens. To play it well requires a lifetime of study (I had three days, but I don’t think it’s too terrible except for a clinker near the end).
Variations
In the Baroque period Theme and Variations were structured as a bass lines over which a variety of melodies and sequences would be composed. By the time Mozart began composing tastes had changed and Theme and Variations in Mozart’s time were generally variations on a melody.
The works I have listed are appropriate for late intermediate to advanced students. They are often underplayed due to their length. For developing artists I do not feel it is necessary for the student to play every variation and it can be fun for them to pick their favorites.
7 Variations of Willem Van Nassau k. 25
Is based on the old Netherlands national anthem for the harpsichord. Mozart was ten years old.
Six Variations on “Mio caro Adone k. 180
Is based on a theme of Saleri’s from the hit opera, “La Fiera di Venzia.” Rather than simply embellishing the theme Mozart transforms it creating 6 unique little gems. It is technically more demanding than the Nassau Variations
12 Variations on a Minuet of J. C. Fischer k. 179 (189a)
J. C. was a virtuoso oboist in the Mannheim Court and the theme is from his Oboe Concerto. The Variations were a favorite of Mozart’s and he performed the regularly through his career. Some of the movements are quite virtuosic and require an advanced technique.
12 Variations on “Ah, vous dirai-je Maman” K. 265
Is amongst Mozart’s most popular works. While English speaking readers best know the theme as “Twinkle, Twinkle, Little Star” the French lyrics translate to:
“Ah! Will I tell you, Mommy what is causing me torment? Papa wants me to reason like a grown up person. Me, I say that bonbons are worth more than reason.”
12 Variations on “La belle Francoise” K. 353
The tender melody comes from an illustration in a book of an English soldier bidding “adieu” to his French love.
Eight Variations on a March from Le marriages samnites K. 352
is a melody about the “God of Love” from a comic opera by Andre-Ernest-Modeste Gretry, a now forgotten but a highly successful composer of the time.
Six Variations on an Allegretto K. 54
Is based on an original theme. The K. number is misleading as the work was composed in 1788. Mozart soon rescored the work to act as the last movement of the F Major Sonata for Violin and Piano K. 547
Variations of a Theme of Gluck k. 455
Are humorous and satirical takes on a theme from the Opera “Die Pilgrim von Mekka.” Mozart original improvised them on the spot at a public concert and satisfied with the response wrote them out.
Nine Variations on a Minuet by Duport K. 573
Along with k. 455 is amongst Mozart’s finest set of keyboard variations and is based on a theme of cellist Jean-Pierre Duport.
Fantasias and Rondos
Mozart wrote three Fantasies, the 2nd and 3rd being the most popular. Unusually for Mozart the latter two are both are in minor keys.
Fantasia and Fugue in C K 394
Is rarely played but worth a listen. The idea to conclude with a Bach inspired Fugue was apparently Constanze’s.
Fantasia in D minor k. 397
Is amongst Mozart’s most popular works. It was unfinished before his death, the last ten measures are composed by August Eberhard Mueller.
Fantasia in C minor k. 396
Was published with the Sonata in C minor k. 457. The only such paring.
Mozart’s Rondos are also excellent choices for advanced teens and adults.
Rondo in D Major k. 485 and A minor k. 511
Sonatas
Mozart composed his first sonata at age 18 and they span his entire career. They can be organized into three groups:
- Munich Sonatas- (k. 279-84) are written in the graceful Rococo style
- Mannheim and Paris Sonatas- (k. 309-11) feature more challenging left hand parts and greater complexity
- Austrian Sonatas (k. 330-33 and 457) were written for teaching and concert performances and are among his most popular
- Vienna Sonatas (k. 545, 553, 570, 576) are the most challenging and display Mozart at the peak of his powers
Favorite Sonatas for developing artists include:
k. 545 in C major– is probably Mozart’s best known Sonata. Often subtitled “Sonata Facile” it was written for amateurs and features lovely melodies.
For teachers tired of hearing it in its original form Grieg created a version for two pianos in which one piano plays the original Sonata and the second piano plays an original accompaniment.
k. 283 in G– is one of the Munich Sonatas and is influenced by J.C. Bach. It is not as technically demanding and makes for a good introduction to the genre.
k. 310 in A minor– was written shortly after the death of Mozart’s mother. There is no indication that Mozart’s music was autobiographical, tragic events were often followed by joyful music and vice versa, but the dramatic, stormy opening and the rare use of a minor key make it a favorite amongst students and teachers.
k. 330 is C is elegance personified
k. 332 in F– features operatic contrasts of character in the Allegro, a lavishly ornamented Adagio, and a virtuosic finale
k. 331 in A– begins with a great theme and variations and end with the famous “Rondo Alla Turka”
For a highly eccentric, but kind of brilliant take it is worth listening to (but not imitating) Glenn Gould who plays the fast variations slow and the slow fast creating a whole new musical structure.
To hear the Rondo played with Janissary effects (cymbal crashes) you can listen here:
Finally, this well beyond most students, but Yuja Wang regularly brings down the house with a mashup of two virtuoso transcriptions by Fazil Say and Arcadi Volodos.
Marc Chan “Left Twinklin'”
To go along with “Ah, vous dirai-je Maman” I asked composer Marc Chan to write me a variation for the left hand alone. Typical of Marc he dispatched five variations in short order. Here are my attempts at playing them.
I hope you enjoyed this blog post! To read my similar post on Kabalevsky click here. The next post in the series will be dedicated to the piano music of Latin America and will be published in late Autumn 2019.