Clifford Curzon was among the finest English pianists of the twentieth century, known for his clear, ego-less performances of the German Classical and Romantic masterpieces. A quiet intellectual who nevertheless possessed a formidable technique, Curzon played everything from Mozart to Liszt with equal authority. His fans often cite this ability to emphasize the personality of each composer, rather than his own, as his most distinctive quality. Curzon recorded for the Decca label for over 30 years, leaving behind a modestly sized, but musically impressive catalog. His recordings of Mozart and Schubert are considered his best.
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.
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.
40 CD box set featuring concerts, quartets, divertimenti, symphonies, arias, opera scenes, famous overtures, sonatas and so much more.
Radu Lupu and Murray Perahia should have recorded all of Mozart's piano music for four hands, which includes several neglected masterpieces. This disc reflects their ideal partnership, two artists of great sensitivity collaborating in performances that feature constant interplay of parts, alertness to each other's work, and superb playing as individuals. The Concerto for Two Pianos ripples along without a care in the world, just as it should, and the English Chamber Orchestra doesn't seem to care that nobody is conducting it. The pieces without orchestra are a bit less significant (as is the Concerto for Three Pianos), but the playing is so beautiful you won't care.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.