Mozart, who loves opera music, often uses opera writing techniques in the creation of piano sonatas. Fu Cong, a famous Chinese pianist, pointed out in the article How to Play Mozart's Piano Concerto: "Mozart successfully expressed his insight into human psychology with music, which was very profound. And can naturally distinguish which role is singing from some phrases. Mozart endowed every phrase with internal psychological analysis, which enabled it to accurately express the feelings it wanted to express. " For example, at the beginning of the first movement of his piano sonata in K 283G major, we can feel its opera melody:

The melody played by the right hand part of the piano with an attachment and another melodic sound with a second degree drop is like the dialogue and question-and-answer of the characters in the opera, which shows the change of the pitch of the characters in the dialogue from the melody direction. This melody is a typical Mozart dialogue. Another common technique of Mozart in opera creation-"Recitation". Recitation is also called recitation. Refers to a singing tune based on language, with free rhythm and simple accompaniment. In modern western opera, oratorio and other large-scale original music, it often plays an introductory role before aria. At the beginning of the first movement of the sonata, a melody similar to "recitative" appeared:

The double and single accompaniment of the left-hand quarter note is simple and stable, similar to the accompaniment technique of "recitation" in the opera, while the more casual melody tone of the right hand is like the monologue of the characters in the opera. The frequent use of the rest further vividly depicts the inner world of the characters. In addition, in the first movement of the song, 3 1 to 34 bars; Articles 43 to 49; From section 63 to section 70, we can hear a lively dialogue and chorus between a group of characters:

All these show that Mozart's sonata is like a play, which is an abstract expression of his opera characteristics in instrumental music.

As can be seen from the above, Mozart's piano sonatas have distinct themes and various forms, and most of the musical languages come from opera. According to his own aesthetic principle of "poetry should absolutely obey music", he pays attention to using "music" to describe the creative role, which makes the singing and singing of melody incomparable to others. While the role of "music" and the music of "role" complement each other, his piano works also show unique symmetry, harmony and balance.

2. The use of scales and arpeggio skills

Pianist Fu Cong pointed out: "Mozart's music has many scales and arpeggios, which are full of poetry and music and should be as interesting as language expression." "The scale should have the feeling of floating up and down, and it should be gentle, like a beautiful poem, as if it were in a fairyland and very leisurely. Don't give people the feeling that you are playing the piano. " In the Allegro movement of Mozart's many sonatas, we can all hear his poetic scales. For example, there are 44 scales and arpeggios in the 72 bars of the first movement of the work K 545, which has been contacted more in teaching. In other words, more than half of the melody of this movement is "skill training" for scales and arpeggios, so there are rarely so many scales in sonata writing. From the beginning, the theme part of music brings people poetic mood with vivid stretching and elegant and smooth melody. Mozart's scale melody written by touching comes from the fifth bar:

Just like spring water, crystal clear, even and clear sound particles, like the sound of pearl jade. The 1 3 section of the music starts from the subtitle part, and the music turns to the subordinate of the theme in G major. The melody of the right hand part is humorous and the timbre is lively and interesting. The contrast between Legato and Jumping, as well as the arpeggios alternately used by left and right hands, seem to show us a vivid innocent and interesting scene of children. This fully shows Mozart's talent and optimistic and cheerful personality. This kind of writing will not only make people feel boring, but also make the whole music more lively and moving because of the reasonable use of scales and arpeggios. The third movement of Mozart's piano sonata in A major, its music is like running water, sunny, fresh and pleasant. Among them, 33-50 bars are an independent single three-segment structure, which consists of scale operation:

A(8) +B( 8) +A( 8)

This scale, which consists of successive sixteenth notes, runs like a military flute playing a gorgeous and bright flute, adding bright colors and joyful atmosphere to this March. Incidentally, when we study and analyze the use of scales and arpeggios in Mozart's piano sonata creation, we can't ignore Mozart's use of piano skills.

Mozart's short life is the period of the rise and upgrading of keyboard instruments. At that time, the ancient piano and the Vienna piano (that is, the modern piano) coexisted. Mozart prefers the Vienna piano. Vienna piano is shallow in keys, thin in sound, transparent, and difficult to play Legato. Mozart made full use of the characteristics that Vienna pianos are good at playing fast and smooth melodies. The scales and arpeggios in most of his piano works run through the Vienna piano, making the music more vivid.

To sum up, many scales and arpeggios in Mozart's music give people beautiful enjoyment, such as the breeze blowing willow, which is so light and elegant, like the whisper of spring breeze, full of poetry. When playing, it should be expressed by "sensitive touch of keys, clear timbre, transparent timbre, vivid rhythm, melodious breath and beautiful singing" (Zhao Xiaosheng), which is a typical Mozart music.

3. Unique treatment of decorative sound

Bach's son C, P, E Bach wrote: "No one can doubt the necessity of decorative sounds. It makes the notes connect with each other, full of vitality, makes music more pleasing to the ear and improves the expressive force of music. Without embellishment, even the best melody becomes empty and motionless, and even the clearest content becomes blurred. However, excessive use of decorative sounds must also be avoided. Just like Chili powder will ruin a good dish. " In the history of western music development, impromptu decoration was once an important content for performers to display their creative talents. However, after the middle of the18th century, composers recorded every decorative sound more and more clearly, and rarely played freely outside the spectrum. Mozart's decorative notes inherited Bach's tradition. In his works, vibrato, echo and leaning are the most common. In many of Mozart's instrumental works, vibrato is widely used and even becomes a symbol of his instrumental works. He prefers to use vibrato at the end of a piece of music or a paragraph, which is also the climax of music. Usually vibrato is on the unstable dominant chord, emphasizing the stop sound. The vibrato in Mozart's works must be played evenly. In principle, eight 32-point notes are played in one quarter note. Instead of playing as fast as possible like vibrato in romantic music. Such as: 25 bars of the first movement of Op. K 545; Section K 33 1 24 of the third movement; 58 bars of the first movement of K 333 and so on. At the same time, in the method of playing vibrato, it usually starts from the second note above the main note and has continued since the Baroque period. It was not until Beethoven's mid-term works that it was clearly pointed out whether vibrato started from the top or from the bottom.