Sara Davis Buechner: Ask Me Anything!

Sara is here as our next featured "Ask me anything" guest!

Noted for her musical command, cosmopolitan artistry, and visionary independence, Sara Davis Buechner is one of the most original concert pianists of our time

Watch her exclusive tonebase lessons here:

With a variety of topics including: which edition to use, alberti bass, practicing scales and arpeggios, and much more!

HOW TO PARTICIPATE

  • Ask your questions right here until October 10th!
  • Sara will answer questions from October 10-15th!
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  • Hi Sara, thank you very much for your great videos on Tonebase and this AMA. I am currently practicing the Mozart F- major Sonata KV 332 and was asking myself if grace notes in Mozartā€™s music are generally played on the beat? And if so does this rule also include other composers? Thanks!

    Like
    • Andrea Buckland My general rule of thumb is that if such grace notes do NOT have a cross on the stem, they should be played melodically, i.e. as a vocal grace note. Most of those would be on the beat, and with UN-regular rhythm to introduce a certain freedom to the passage. But small notes WITH a cross through them are pianistic, i.e. quick, and usually before the beat.

      Like 2
    • Sara Buechner Many thanks! 

      Like
  • Ms. Buechner, (1) which of the Mozart piano sonatas is your favorite and why, (2) which one do you consider the most difficult, and (3) what would you consider is the biggest challenge pianists face when approaching Mozart's piano works?

    Thank you for participating in this AMA session.

    Like
    • Robert Cating Hard to choose favorites among a trove of immeasurable masterpieces. In my late teens I dove into KV 533/494 and it's just such a perfect and incredible piece that I do have it in a special place of my heart. Equally amazing are the C minor Fantasy and Sonata, the A minor, and the last Sonata in D major, too.

       

      The biggest challenge of playing Mozart is finding the sound, the sense of rhythmic freedom, and yes the rubato in such music. Usually Bach and Mozart are played so very straight-laced with little imagination. Yet any quick dive into Mozart's letters reveal a personality of astonishing vivacity, imagination, soul, honesty, vulnerability, lust, and, well, genius. Hard to imagine that such a musician would enjoy hearing his music played with metronomic meter.

       

      The best Mozart lessons I ever received were hearing the great recordings of Dinu Lipatti, Clara Haskil and Paul Badura-Skoda (whom I later got to know and play for). To my ears, this is Mozart as he is meant to sound.

      Like
    • aliceyip
    • aliceyip
    • 1 yr ago
    • Reported - view

    Bach Toccata No.3 in F Sharp minor difficulties:

     

    1.  In the opening section, I am not sure whether I need to use Pedal and the Articulation should be all Legato or some slurs in Demisemiquavers and Semiquavers.

     

    2.  I am not sure whether the rhythm of demisemiquaver and semiquaver in bar 46 should be fast or not.

     

    3.  I am not sure whether the rhythms of the semiquaver notes and semiquaver rests from bars 61 - 64 should be all equal or not.

     

    4.  I am not sure whether the semiquavers should be all Legato, or slurs for each two notes or four notes from bars 71 - 75.

     

    5.  I am not sure whether the semiquavers should be all Legato, or slurs for each four notes or eight notes and how much pedals should be used from bars 110 - 112.

     

    6.  In 6/8 time, I don't know how to arrange the slurs on both semiquavers and quavers from bars 158 - 163.

     

    7.   I am not sure whether the semiquavers should be all Legato, or slurs for each four notes or eight notes and how much pedals should be used from bars 186 - 196

    • aliceyip Dear Alice: WOW what a detailed query!

      Answers.

      1. It's an improvisatory opening, like an Organ Prelude. Use pedal as you like and employ rhythmic freedom. Mostly legato, I would say.

      2. I would not count that out. Play it freely. Remember that often, musical notation is inadequate to the task of fully showing the composer's intent. This is an ornament, albeit an elaborate one.

      3. Mostly equal and be careful with pedal. The rests need to be heard.

      4. I would not use slurs here.

      5. Again, I would make sure to have the rests be audible (change pedal, or no pedal). No slurs.

      6. If you choose to slur in the manner of a Gigue here (I would), it would be slur - dot - dot, for each group of three eighth notes.

      7. I would play it legato, with as much pedal as you like.

       

      Alice, I would strongly recommend you consult a few performance editions of the work, especially those of Busoni, Petri and Casella. It doesn't matter if such editions are considered "non-urtext." You will get a lot of valuable ideas about how to pedal Bach and how some of the greatest musical minds of the 20th century felt about interpreting his keyboard music. After that you can read treatises and use urtexts if you like. My own feeling is that the piano has three pedals -- use them. If you don't want to do that, then play a harpsichord. Unfortunately (a joke there) most harpsichords have pedals, too!

       

      The idea of playing Bach in rigid tempo, with no pedal, cold as ice, and staccato especially in fast passages, all derives from unimaginative teachers thinking that Glenn Gould is Bach reincarnated or some such. Please remember, it's music. And listen to Bach's cantatas and read the texts. It's about human emotion, and as such needs to communicate that. It doesn't need to be "correct."

      Like 3
    • Michael
    • Art Historian, Musculoskeletal Radiologist, Former Harpsichordist
    • MichaelP
    • 1 yr ago
    • Reported - view

    In the ideal world, would a Mozart specialist be best served by a piano regulated to have a lighter, more facile touch suited to a more precise finger-focused playing technique?

    Like
    • Michael Hard to say. I like to play the Yamaha and Bechstein pianos which I think serve Mozart, Scarlatti and Schubert very well. But I've enjoyed playing such music on Steinways and Baldwins and Bosendorfers, too. Good to have choices.

      Like
    • Steve Coffey
    • Statistician, Pianist
    • Steve_Coffey
    • 1 yr ago
    • Reported - view

    Hi Ms. Beuchner.  First, I love your tonebase lectures on the Mozart sonatas.  I watch them multiple times and make notes in scores and then go straight to the keyboard to incorporate your ideas.  Thank you!  

     

    But here's my question:  In Mozart you have often talked about and demonstrated additional ornamentation.  Can you suggest how or where I might learn about that?  I mean, literally what notes to play.  Or maybe you could do a short lecture just on that?  And my follow up question relates to "taste".  You always caution us to not over do it, and that such additional filigree must be tasteful.  It would be great if you could elaborate.  What is tasteful and how can I know if I've over done it?

     

    I love your work!  

     

    Steve in East Hampton

    Like
    • Steve Coffey Dear Steve:

      Thanks for your nice words. And give my salutations to the Montauk Lighthouse! -- one of my very favorite places to be.

      Ornamentation and embellishment in Mozart is a very big question and needs quite a bit of study and contemplation. The two important authors to consult that I always recommend, are Paul Badura-Skoda and Frederick Neumann. Both wrote books about Bach and Mozart, and you will glean a lot from them. I wrote my own cadenzas soon after reading Badura-Skoda's chapter about how to do it.

      Please read above where I discussed some of that with the other questioners.

      East Hampton! I am jealous, wish I was there seeing the beautiful ocean. All best, Sara.

      Like
      • Steve Coffey
      • Statistician, Pianist
      • Steve_Coffey
      • 1 yr ago
      • Reported - view

      Sara Buechner 

      Thank you!  I'll check out both Badura-Skoda & Neumann.  Break a leg in Minneapolis this week!  (It's my home town from way back when I was studying at MacPhail.  In the early 70's.  Ha ha.)

      Like
    • Heidi
    • Heidi_Basarab
    • 1 yr ago
    • Reported - view

    Hello Ms. Buechner! Thank you for your delightful (and very helpful) lectures, for taking the time to answer these questions, and ā€” last but not least ā€” for your transcendent playing. You interpret Mozart with such a generous, big-hearted spirit and incredible contrasting moods. Wowza.

    I have many questions, but will limit myself to two: 1. What do you believe are some of the biggest misconceptions and/or misguided decisions pianists tend to make when attempting to play Mozart? 2. Could you reflect on a Mozart piece that you've built a long-term relationship with and walk us through how your understanding/ideas about that piece have changed over time?

    Like
    • Heidi Wowza indeed, thanks for your nice words and geez what a question. I would say that the biggest misconceptions in Mozart are also found in less-successful Bach playing -- tempos too fast, rushed 16th notes, staccato where legato or portamento is a better choice, not utilizing rubato or ritards, not playing with a singing tone, not pedaling or pedaling poorly. In general, too many pianists play Bach and Mozart like it's an exercise or warm-up for something of better emotional interest, like Chopin.

       

      As for your second question, I'd say the best story I could share is the first time I did use free embellishment playing Mozart, specifically the Concerto in C major KV 467, slow movement. I had written down a lot of choices and deliberately did not make a decision as to what I would play before-hand. When that second movement began, I suddenly experienced the utter freedom that Mozart had in performance, for the first time. It felt more like playing with a jazz combo than executing a well-practiced rote performance. Absolutely wonderful, and it wholly changed the way I looked at Mozart's Concertos, and embellishment in general.

       

      I think Robert Levin does this quite a bit, as well. I am not as fond of his choices in his own editions (new Vienna Urtext) but the philosophy is spot on.

      Like
      • Heidi
      • Heidi_Basarab
      • 1 yr ago
      • Reported - view

      Sara Buechner Thanks so much for the thorough reply! Wish I'd been at that performance. :)

      Like
  • Hi Sara! Iā€™m a big fan of your lessons on TB, they are among my favorites and those Iā€™ve wached the most. 

    I have some questions: 

    1. Will you give more lessons on TB? Have you filmed some already perhaps? If so, can we get a hint of whatā€™s coming? PS: Iā€™m hoping for Mozart sonata in Am (K310), but will take anything, of course. 

    2. Ornaments. As we have learned, in the classical style one properly should begin the trills on the upper note. But of course, one should also consider the context if itā€™s better to start on the main note. However, It seems to me that many top performers donā€™t care about this ā€œruleā€ at all. Is it in the end all a matter of individual taste and preference, or is it un-informed playing? 

    3. I have some piano students who have played Mozart sonata  K.545. They can typically play most pretty good, but struggle with the ornaments. My go-to method would me slow practice, and making sure the fingerings is good. Any other advice on getting those ornaments good? (Thinking of bar 15, 17 etc).

    4. Also a question on teaching ornaments in Haydn sonata c-major XVI 35. The turns in bar 20 (etc.) will give four (or five) against three in the left hand. Personally I play instinctively, not thinking about 4 against 3 at all, but just playing the left hand thing and the right hand thing as two separate things. However, when teaching this I think it would be helpful to be able to play that 4 against 3 slowly, and gradually build up the speed. Any advice on this? PS: Should one do this turn with five notes instead of four to emphasize the main note?

    5. Any repertoire suggestions in Haydn on the level Mozart K.545, or perhaps a little easier? (Thinking of my students)    

     

    Thank you so much for your time! What a great pleasure it is for all of us that you are doing this! 

    Sindre    

    Like 1
    • Sindre Skarelven More TB material coming, on piano technique and the teaching works of Alberto JonĆ”s. Stay tuned!

      Ornaments do not necessarily begin on the upper neighbor. A lot depends on the harmonic underpinning. Is a dissonance preferred? Or a consonance? Is it a slow trill? Fast trill? Simple turn? Many questions to consider, and yes, personal taste is a big part of it. See my answers to other questions, above. (I'm assuming you can read all the letters and answers).

      In Mozart KV 545, a very good idea to write out the ornaments for your young students. And think of some with just a 3-note turn, then a 4-note possibility, or a 5-note possibility so they can choose what works for their hand. Size of the hand has a lot to do with this, too.

      In that Haydn, either 4 or 5 note turn is just fine. And I like your idea of the slow practice.

      As for Haydn easier repertoire, just start with the first volume of either Henle or Vienna Urtext. The first 15 to 20 Sonatas are quite short and perfectly playable by younger students. I assign them often for sight-reading, for my college students, as well.

      Like 2
    • Sara Buechner Thank you so much for this very helpful answer, Sara! I completely understand and agree with this. 

      Looking forward to your next TB-lesson! Sounds interesting! 

      Like
    • Sofia
    • Sofia
    • 1 yr ago
    • Reported - view

    Hello Ms. Beuchner, 

    I' had been nicely surprised to see this lesson on sonata K.545 as i began to work on last month.

     

    Normally I do my hanon ex, czerny and Bach first book and just finished the sonata n.20 - Kulhau.

     

    K545 is very challenging for me but pushing  my self can't be wrong. Instead I find solutions  I havent think  before. So far so good....

     

    The think is how much I can push my self without end with the frustrating feeling of not been capable.

    I mean this trills... ok for 50 bpm but an allegro means at least 120bpm

    For the rest of the sonata i'm ok, not 120 but 90 easily .

    And its so sad to pushback everything just because of one barre of trills. 

     

    My question is... should I slow down and try something easier or I keep going this way?

    Thanks you.

    Like
    • Sofia Dear Sofia: I'd say, ease up on the trills. If they are slow, no problem. It's not supposed to be a virtuoso work! The main point is to enjoy the playing.

      If you get frustrated, you can certainly try the Rondo in D major KV 485 which is very beautiful, or the Six Viennese Sonatinas. And there are plenty of bonbons in Mozart's London Notebook, works he wrote as a child and young teen. Great stuff in there which you will enjoy.

      Like
      • Sofia
      • Sofia
      • 1 yr ago
      • Reported - view

      Sara Buechner Thanks so much! 

      Like
    • Tammy
    • TT2022
    • 1 yr ago
    • Reported - view

    Hi Sara: I donā€™t have any questions, just want to tell you that I discovered your Rhapsody in Blue solo piano performance on YouTube a few years ago, and I must have watched it half a dozen times. It is phenomenal! 

    Like
    • Tammy Tammy, that is so kind of you. I do love playing that piece. And I'm so gratified that you enjoy it so much. Hope you can hear me play it live some time. I put it on a lot of recitals, to this day.

      Like 1
  • Dear Ms. Beuchner, 

     

    Thank you very much for your wonderful series on Mozart music. My son Scott (10 years old) just started learning to play Mozart. He recorded his playing of Sonata K332 and K333.

     

    https://www.youtube.com/watch?v=qbLO7opYjHg

     

    https://www.youtube.com/watch?v=zJLdx5U9TBI

     

    I was wondering if there is a chance you can have a quick look at his recordings and give him some advice and suggestions so that he can improve? 

     

    Thank you very much for your time! 

     

    Scott's dad 

    Like
    • Scott Nguyį»…n Dear Scott's Dad: I enjoyed those videos very much! You have a very talented son. Good overall command of rhythm though the ritards in KV 332 are a bit too much (too slow). Also make sure he changes the pedal cleanly -- lift the foot up and get air, in-between pushing the pedal. Otherwise, very good performances. Bravo!

      Like 1
    • Sara Buechner Thank you very much for your great advice and suggestions for Scott. I will let him know. He will be very happy to know that you got back to him. Thanks! Hai 

      Like
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