Chapters 3&4:
It seems that the fortepiano soon became popular after it was invented. In some cases, when a traditional instrument is replaced or improved, it is rejected at first and it takes a long period before the old trusted one is outruled. I found it interesting that J.S. Bach actually tried out one of these newly built instruments. Haydn and Mozart were both in favor of the fortepiano and wrote especially for this instrument. An interesting fact was that Haydn preferred the lighter action and felt that the Erard piano was too difficult for him to play. He actually stated in his letter to Maria Anna von Genzinger on p. 41 that his sonata would "gain double its effect" by this particular fortepiano with lighter action. If one compares this to the modern piano of today, would it not be much easier to play fast passages on a piano with a much lighter action?

I find it interesting that there was such a great demand for pianos at the time. Surely it must have been difficult to get these larger instruments from one point to another, especially when they became bigger in structure. Wouldn't it be much easier to play a string or wind instrument at the time? If the piano did not become that popular we would possibly not have this wonderful instrument as it is today.

Mozart, being one of the first virtuosos on the fortepiano, defined the ideal Viennese technique as playing non legato. Does this perhaps mean that modern pianists should play virtuoso-like passages non legato? If that is what Mozart intended for his pieces how could pianists of today ignore that. Paul and Eva Badura-Skoda clearly states on p. 52 that Mozart wanted melodic, cantabile passages to be played legato. It is almost impossible to think that one would be able to play all fast passages non legato. This brings me to the question of tempo choices. I noted that Mozart was definitely not in favor of playing in a fast techinical manner. He did not see any reason for that. He states in his letter to his father on p. 54 that the pianist Vogler played "far too quick" and that it was "unendurable". Clearly Mozart was not in favor of fast technical playing and he wanted every detail eg. appogiaturas etc. to be executed perfectly. I wonder what would Mozart say about today's technical obsession with piano playing. I don't think that Mozart was totally against a good technical ability. In fact, he himself was seen as a child prodidgy and I don't think he only played in a slow cantabile like manner. The quote on p. 55 was self explanatory to me where Mozart says "I too had to work hard, so as not to have to work hard any longer." This chapter gave me a lot of insight into understanding Mozart better and I found his ideas and quotes extremely valuable.