Mozart piano sonatas

[Franco]

I like Eschenbach.

[Coopmv]

I like Eschenbach.

I like his PC No. 21, which he conducted from the piano.  Here is my original LP I bought years ago.  I also have the CD.

[George]

I like Eschenbach.

Me too, Franco. 

[Coopmv]

Me too, Franco. 

Here is one of my all-time favorites by Eschenbach and a former West German chancellor plus two other pianists ...

[Mandryka]

I don't see why that would be "girly" since Gould is three times as fussy.

What Gould has which saves him from girlyness is energy and wit.

I am always surprised how great Gould's Mozart sometimes is: before you reject his KV 330 as inferior to (inter alia Uchida's), makes sure you have listened to one of the good versions. Either the live Orfeo one from Salzberg (probably the best) or the early studio one on Sony. Both are superior to his later studio version.

The fact that he recorded this three times makes me think that it's one of his favourites, and his love for the music shines out in the performance..

This guy Gould, in Mozart, such an enigma.

So many turkeys.

And now and then, performances of absolute genius.

I was recently gob-smacked  by the greatness of his studio Piano Concerto 24 (way better than the live version from Stockholm.) In the last movement, he plays those variations like no one else – and the last variation has the best 10 seconds of Mozart piano playing I have ever heard.

And the KV.475 fantasie too --  my top recording of that piece

[Herman]

I am always surprised how great Gould's Mozart sometimes is: before you reject his KV 330 as inferior to (inter alia Uchida's), makes sure you have listened to one of the good versions. Either the live Orfeo one from Salzberg (probably the best) or the early studio one on Sony. Both are superior to his later studio version.

The fact that he recorded this three times makes me think that it's one of his favourites, and his love for the music shines out in the performance..

This guy Gould, in Mozart, such an enigma.

At your request I listened to Gould's agressively non-legato Salzburg K330. As always it's played with immense control, and there are moments of intensity. My handicap is perhaps I don't share your fascination for the "enigma" Gould; I think that enigma is a media creation, and few pianists have talked as much on the record as Gould has, being as self-smitten as he was.

I also listened / watched some of the "Gould on Mozart" video, and it's rather funny to see Gould pontificating on the fact that Mozart (and probably pretty much all other classical composers) has been recorded definitively, so what should a guy like Gould do to add anything to the record? His solution to this problem was highlight unusual things in this music to make people think about it again.

What's so funny is this is 1965 or some such date. A tremendous number of worthwhile recordings of the classics have since then been made, including the entire HIP movement in its varying shapes. People are still getting very excited about Mozart and how to get ever closer to the essence of his music. Gould's jaded "it's all been done' pose is so much about himself, ather than about the music.

Anyway, it was interesting to listen to the Salzburg piece; I wouldn't put it anywhere near the top of any list, except for the evident technical command (though any decent amateur can, of course, play this piece).

[Mandryka]

The enigma I was refering to has nothing to do with any sort of media creation. Rather it has to do with my belief that his record in Mozart performance is so unreliable: often he fails;  sometimes he succeeds remarkably well.

[Mandryka]

There's a pretty new set of Mozart sonatas by Wanda Landowska, originated from Japan and available through Arkivemusik. They were recorded in the 50s and are new to CD.

Anyway, she plays KV333, and I have just been listening.


It's brilliant playing. But she embellishes the music. It happens throughout the sonata but it's striking in the final movement where she seems to introduce an improvised fantasy on the themes -- just like a cadenza in a concerto.

What's going on?  Is this a HIP thing to do? Does anyone else do that sort of thing?

[DarkAngel]

Mini buying spree for "girl power" sonata sets, placed order for:



I was unaware of Klara Wurtz/Brilliant set till reading this thread, the samples sound extremely promising and the price is right.
The Pires/DG was always on my potential buy list, elegant nimble passages from the sound samples, not discussed much
here however so I will get the ball rolling.......reduced price for boxset makes it a buy

[George]

Mini buying spree for "girl power" sonata sets, placed order for:

If your girl power spree continues, may I suggest:



Link to that set on amazon

[Mandryka]

Mini buying spree for "girl power" sonata sets, placed order for:



I was unaware of Klara Wurtz/Brilliant set till reading this thread, the samples sound extremely promising and the price is right.
The Pires/DG was always on my potential buy list, elegant nimble passages from the sound samples, not discussed much
here however so I will get the ball rolling.......reduced price for boxset makes it a buy

It'll be interesting to see what you make of these. Some people are really enthusiastic about Wurtz, though I myself am not one of them.

Be careful with Pires. There are two sets. The more recent one on DG I am not so keen on because she uses a funny sounding piano IMO -- Fazzioli maybe. I'm not sure. The older one is on Brilliant, and is worth hearing.

But the best lady Mozartian is Landowska. No argument.

[George]

I'll second George's mention of Kraus's stereo (second) box. I prefer it to her forst set. It's a good old stalwart. Dramatic readings.

Hi Mandryka!

Actually, the one I mentioned was her first (mono) set. I haven't heard the stereo set, but I have read that the mono set was better. Have you heard both sets?

[Mandryka]

If your girl power spree continues, may I suggest:



Link to that set on amazon

This is the first, mono cycle, right?

If so, why is it better than her stereo cycle?

[Mandryka]

Hi Mandryka!

Actually, the one I mentioned was her first (mono) set. I haven't heard the stereo set, but I have read that the mono set was better. Have you heard both sets?

You can see we are posting at the same time!

Yes -- I have the stereo and a friend of mine has the mono. I borrowed the mono a while back in I did prefer the stereo -- but I haven't lived with both over an extended time -- I had to return the mono.

It would be interesting if anyone has thought deeply about this. I think this lady's Mozart is good. PM me if you want to exchange some mono for stereo sometime.

[George]

You can see we are posting at the same time!

Yes -- I have the stereo and a friend of mine has the mono. I borrowed the mono a while back in I did prefer the stereo -- but I haven't lived with both over an extended time -- I had to return the mono.

It would be interesting if anyone has thought deeply about this. I think this lady's Mozart is good.

Indeed it is. 

[DarkAngel]

It'll be interesting to see what you make of these. Some people are really enthusiastic about Wurtz, though I myself am not one of them.

Be careful with Pires. There are two sets. The more recent one on DG I am not so keen on because she uses a funny sounding piano IMO -- Fazzioli maybe. I'm not sure. The older one is on Brilliant, and is worth hearing.

But the best lady Mozartian is Landowska. No argument.

I can tell from the samples that I will almost certainly be big fan of Klara Wurtz set........glad this forum alerted me to it!
I know almost nothing about Wurtz since she has a small recorded output so far, very attractive physically if that matters  0:)

The newer Pires/DG set in latest reduced price boxset has already been ordered.
The older Denon versions I did not see listed on Amazon as a Brilliant boxset.............oh well

[ccar]

Well – I have tried to see what people like about Uchida. And I will persist. But up to now I stick my initial judgement – perfect trills and no depth.

Mandryka

I also have a similar problem with Ushida. When I listen to her playing the music is usually very dynamic, bright, emphatic and colourful. But I cannot get interested in the phrasing, surprised by the inflections or touched by the colors.  There is something in her musical sensibility I am not able to connect with.
I admit this is a question of individual taste or sensitivity. The beauty of Mozart's music is certainly there to enjoy. But, as you said in your post, we tend to look for some magic  behind it. And some interpreters help us more than others to get it.      

Carlos  

[Mandryka]

I can tell from the samples that I will almost certainly be big fan of Klara Wurtz set........glad this forum alerted me to it!
I know almost nothing about Wurtz since she has a small recorded output so far, very attractive physically if that matters  0:)

The newer Pires/DG set in latest reduced price boxset has already been ordered.
The older Denon versions I did not see listed on Amazon as a Brilliant boxset.............oh well

Here's  a link to my prefered Pires recording if you decide to explore it in the future

http://music.brilliantclassics.com/epages/joan.storefront/4ac0fd18016c7e70271d52c5db1e06df/Product/View/92733

[DarkAngel]

Here's  a link to my prefered Pires recording if you decide to explore it in the future

http://music.brilliantclassics.com/epages/joan.storefront/4ac0fd18016c7e70271d52c5db1e06df/Product/View/92733

Ok thanks.......

Can't find that Brilliant set on Amazon USA, but I recognize that photo from older Denon CD:

[Que]

Ok thanks.......

Can't find that Brilliant set on Amazon USA, but I recognize that photo from older Denon CD:

Review.

MDT

Q