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Mozart's music is often described as being hard to play because of its thinness, its transparency, and lightness of texture. he compensates for the lack of thunderous chords and bravura with melody, and Syncopation. This piece abounds in both, especially the latter. To further the readability of these L-R alternating syncopated figures, we have used a rhythm which has fewer rests, which reflects the performance style of Emil Gilels, the Russian pianist known for his "golden sound". One of the ways he achieved that sound was frankly by playing through many rests in Mozart, Beethoven and other composers whose scores were the vehicles for his sound. Weird, but true. All the original rhythms have been doubled for better visual clarity. Our score has fewer 16th-rests and more stemmed-together notes.When the syncopation is unavoidable and required, we use detached 16ths similar to what a vocalist would find in an opera recitative. The cadenzas are written out in full-size notes, and fingered for logical harmonic and scalar groupings. The ornamentation is also written out, similar to what one might in a grayed-out ossia box from some commercial publishers. MBB
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