Even though Marc-André Hamelin is world-renowned for his astonishing virtuosity and a massive repertoire of the most demanding piano works, including those of Scriabin, Godowsky, and Sorabji, he has startled many with his sudden turn toward the placid domain of Classical music. First came his critically acclaimed recordings of Franz Joseph Haydn's keyboard sonatas, which were surprise best-sellers for Hyperion, and here he offers a double-CD of the piano sonatas of Wolfgang Amadeus Mozart, with a handful of short pieces to round out the discs. Since Hamelin's fine reputation precedes him, suffice it to say that these are among the most meticulously played and wittily interpreted renditions of these pieces ever recorded. Even though Mozart's sonatas are tamer than the showpieces of pianistic derring-do normally associated with Hamelin, they are endlessly fascinating for their skillfully crafted details, subtle phrases, and elegant expressions. Since the issue isn't how Hamelin manages all the notes, but instead how he shapes them into such entertaining and moving performances, there is much food for thought in this album, and anyone who attentively follows his playing will find a deeper appreciation of Mozart. Highly recommended.
While its unpretentious cover photo and small text don't proclaim it as an important recording, Noriko Ogawa's 2012 SACD of Mozart piano sonatas is the kind of sleeper album that quietly asserts its value and convinces purely through the beauty of the music. The three piano sonatas presented here also have that kind of unassuming quality. Mozart composed them as teaching pieces, suitable for players of modest skills, yet they have become extremely popular and rank among his best loved works. Ogawa plays them with a light touch that suits their simplicity, and her interpretations of K. 330, K. 331 (famous for its Rondo alla Turca), and K. 332 are transparent and almost naïve, but for the subtlety of attack, balanced phrasing, and shaded dynamics that reveal her artistry. BIS provides nearly ideal sound quality for Ogawa, offering clean reproduction and reasonably close microphone placement that make listening effortless.
The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
This work is very hard to characterize emotionally, but it sighs and it sings enigmatically. Surprisingly, so many performances are very straightforward, never capturing these soulful, longing qualities that almost approach reverie at times. Not so this time. The interplay here is amazing, Pires' delicate approach is ideal for this music, and the conducting is elastic in that "Furtwanglerian" way. But don't get the impression this is bloated, Romantic Mozart…it's not. (Maybe Furtwangler wasn't the right name to evoke after all.
Maria-Joào Pires has recorded these concertos before, for Erato, and this experience shows in assured playing. In K449 I find the sound of the Vienna Philharmonic, recorded in Vienna's Musikverein, too big: the string section seems large and the hall over-reverberant. Furthermore, the piano sounds plummy, and even those who dislike the fortepiano may question its suitability. With these reservations, one can enjoy Pires's deft and sensitive performance, without strong individuality but offering consistent intelligence, and the brisk finale shows her and Abbado at their best. Even so, this is a romanticized slow movement; the gooey orchestral sound does not help, but the pianist is also partly responsible in a way that I have sometimes noted in her performances of Mozart's sonatas.
Here's a piece you don't often hear performed in concert: Mozart's Divertimento in B flat major, K. 254 (aka, his Piano Trio No. 1). While the other five works in the same form are performed frequently by virtue of their later date of composition, the early Trio No. 1 is not only rarely performed in concert, it's usually recorded only in context of all the other trios. And so it is here: Trio No. 1 leads off this 2007 Hyperion disc by England's Florestan Trio, and, naturally, it is followed by two later trios – No. 2 in G major, K. 496, and No. 5 in C major, K. 548.
The sixth disc in this highly acclaimed series combine two works in which Mozart's powers as an orchestrator come to the fore. Concerto No. 18 in B flat major, K 456, is sometimes referred to as one of the composers military concertos on the basis of the march-like main theme of the first movement. But more striking is the variety of ways that Mozart employs the various groups of instruments: strings, wind instruments and, of course, the piano. This aspect certainly didn't pass unnoticed by a listener as initiated as Mozart's father Leopold: in a letter to his daughter Nannerl he described how his enjoyment of the orchestral interplay had brought tears to his eyes.
Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.