Mozart piano sonatas

[Todd]

For the new year, I wanted to sample a variety of new Mozart cycles, and as luck would have it, five managed to end up in my cart and then in my possession.  These five cycles, including my first two forays into HIP Mozart sonata recordings, are played by artists new to me, and they use eight different instruments between them.

I decided to go Austrian to start.  All Austrian.  Roland Batik is an Austrian pianist, and he used a Bösendorfer in these Gramola recordings, made in 1990, just in time for the Mozart year that followed.  This is my second Mozart set recorded on Bösendorfer, the other being Friedrich Gulda's almost complete set.  Turns out Batik was a Gulda pupil – and then some.  He taught and worked with Paul Gulda for a while in the 80s, and like his one time teacher, he also played and continues to play jazz.  He is part of trio that plays a jazzy-classical mix.  He teaches.  And he composes.  So there are some obvious similarities, but when it comes to playing, Batik is not entirely like his former teacher.  Batik's playing is laid back compared to Gulda's.  His playing evokes a sense of fun a lot of the time.  He seems to be exploring the music, bringing an almost improvisational feel to the playing in some works.  He uses the Bösendorfer's capabilities well.  The bright upper registers tickle the ear, and Batik never overdoes the dynamics.  The potent bass of his instrument isn't really exploited, but that's fine here. 

There's not a bad sonata in the bunch, but some are better than others, as one would expect.  The earlier sonatas (K2--) tend to be more relaxed and "improvisational".  Starting with K309, Batik plays with more rhythmic acuity, and a less relaxed feel, and with an often intriguing balancing of voices.  His playing in the minor key sonatas never really adopts a darker hue that some pianists adopt, but that's quite alright.  Maybe his variations in K331 could be a bit more varied in style, but then maybe the result wouldn't be so fun.  Batik was a shot in the dark for me, and it turns out that his cycle is most enjoyable.  No, he doesn't join my Holy Tetrarchy, but this is an excellent set.  Sound is ever so slightly distant, but not overly resonant, and overall is very good.

Perusing Mr Batik's discography, it appears that he started off on a Beethoven cycle many moons ago, but never finished, having recorded only two volumes, but he did complete a Haydn sonata cycle.  It would be expensive to acquire, but it's on my radar now.

Next, I think I'll try some HIP Mozart.

[Todd]

I decided it was high time I tried me some HIP Mozart sonatas.  Looks like I was wrong.  Don't get me wrong, Alexei Lubimov is a talented artist, and he plays all of the works very well indeed, and while I dislike this or that interpretive device (or the rather clunky Ronda Alla Turca, to cite one unfortunate example), or while I like this or that other interpretive device, what I do not like are the instruments used.  Not one of them.  Much of the time they sound somewhat like a harpsichord with the flu: heavy and congested.  The one used for disc three is especially bad.  It sounds like a broken toy.  And the instruments detract even when the artist is really putting in the effort.  The K475 Fantasy, for instance, and the opening of K457, is dark and intense – or as dark and intense as a toy piano can make the music sound.  Here, Lubimov almost makes a case for HIP Mozart, but sometimes Chihuahuas can almost make you think they are fearsome.  I couldn't help but wonder what Lubimov could do with a real piano.  I guess the unintentional bird accompaniment in K282 is a nice touch, so there's that.  Maybe PBS makes the case for Mozart the way he did for Beethoven?

[Dancing Divertimentian]

Maybe PBS makes the case for Mozart the way he did for Beethoven?

I used to have PBS's Mozart cycle (probably my most regretted cull ) and if I'm forced to listen to the FP then this is the way I want to hear it - decent instrument allied with musicianly (as opposed to scholarly) insights.

What I liked about PBS's approach was his sense of getting inside the music, something I don't find as often as I'd like in this music. The issue of the instrument ultimately became peripheral as PBS's musicianship carried the day.

[Mandryka]

I used to have PBS's Mozart cycle (probably my most regretted cull ) and if I'm forced to listen to the FP then this is the way I want to hear it - decent instrument allied with musicianly (as opposed to scholarly) insights.

What I liked about PBS's approach was his sense of getting inside the music, something I don't find as often as I'd like in this music. The issue of the instrument ultimately became peripheral as PBS's musicianship carried the day.

I'm inclinced to agree with you about this. If this set os OOP and people want it, I'll put it on symphonyshare.

[Todd]

François Dumont is a pianist new to me.  The young (30 later this year) pianist recorded this Mozart cycle back in 2008 in the very same venue used to record the splendid sounding Cerovsek/Jumppanen sets of the LvB Violin Sonatas and Brahms Violin Sonatas.  Sound is a bit distant, but nonetheless sounds wonderful, exhibiting fine clarity and tonal luster.  Dumont's playing is on the light, classical side.  Nothing is too heavy or romanticized.  Even the most dramatic moments are relatively light.  Dumont allows himself little touches, but nothing that unduly draws attention to himself.  Rhythm is quite nice and never laid back.  There's not a bad performance in the lot, but he tends to be at his relative best in the "early" (ie, K2--) sonatas, which here never sound too long, too slow, or too cumbersome.  I can't say he's quite in the same league as my favorites, but this is a most enjoyable set and one that I will return to again, and I certainly look forward to hearing Mr Dumont in more repertoire.

[Brian]

François Dumont is a pianist new to me.  The young (30 later this year) pianist recorded this Mozart cycle back in 2008 in the very same venue used to record the splendid sounding Cerovsek/Jumppanen sets of the LvB Violin Sonatas and Brahms Violin Sonatas.  Sound is a bit distant, but nonetheless sounds wonderful, exhibiting fine clarity and tonal luster.  Dumont's playing is on the light, classical side.  Nothing is too heavy or romanticized.  Even the most dramatic moments are relatively light.  Dumont allows himself little touches, but nothing that unduly draws attention to himself.  Rhythm is quite nice and never laid back.  There's not a bad performance in the lot, but he tends to be at his relative best in the "early" (ie, K2--) sonatas, which here never sound too long, too slow, or too cumbersome.  I can't say he's quite in the same league as my favorites, but this is a most enjoyable set and one that I will return to again, and I certainly look forward to hearing Mr Dumont in more repertoire.

I probably told you this before, but Dumont's Gaspard was one of the very best things I heard when streaming the Van Cliburn preliminaries, so naturally the Cliburn judges booted him before the second round.

[Todd]

I probably told you this before, but Dumont's Gaspard was one of the very best things I heard when streaming the Van Cliburn preliminaries, so naturally the Cliburn judges booted him before the second round.

Yes, I recall the post.  I can see his very French style working very well in Ravel.  I'm pretty certain I shall be exploring more by Mr Dumont.

[Todd]

This is my first exposure to the playing of the recently departed Peter Katin.  This set is a straight reissue of the late 80s Olympia recordings of the sonatas.  While I tend to not be too fond of sound from the era, engineer Arne Akselberg works his magic and sound quality is wonderful.  Maybe here and there the slightest bit of brightness can be heard, but then that just may be how Katin played in those instances.  And how Katin played was beautifully.  Beauty is the watchword throughout.  Never is an ugly tone heard.  There is no harshness.  No bite.  Perhaps that last bit could be a drawback for some, because stormier works like K310 and K457 are not particularly stormy.  This is elegant, refined Mozart, perfectly suitable for a posh drawing room.  If that reads like criticism, it is not meant as such.  This is how I hear the style, and Katin convinces start to finish.  It does not challenge my favorites, and it lacks the grooviness and sense of adventure that Roland Batik brings to the works, but as with François Dumont, Katin's set is most enjoyable and one I'm glad to have.

I think I'll give HIP Mozart a shot again next.

[jlaurson]

Does anyone know Mozart cycles (complete or very nearly so) outside these:

Katin
Uchida
Perahia
Brautigam
Bezuidenhout
Dumont
Batik
Lubimov
Gould
Kraus
Kraus
Barenboim
Gieseking
Oort
Pires
Pires
Badura Skoda
Badura Skoda
Würtz
Deyanova
Pienaar
Haebler
Haebler
Klien
Larrocha
Eschenbach
Schiff
Tirimo
Jandó
Perlemuter
Schoonderwoerd
Bilson
Arrau
Mamou
Pommier
Endres
Leygraf
Horszowski
Biegel
Pirner
Rich
Hakkila
Pludermacher
Francesch
Huh
Heidsieck
Ciccolini
Gianoli
Okonsar
Ránki
Vosresensky
Engel
Schuchter
Zacharias
McCawley
Tilney
Lowy

---I am a little surprised to find that neither Brendel, nor Periah, nor Buchbinder have recorded one...

[ajb]

seeman, rampe...

[Todd]

Does anyone know Mozart cycles (complete or very nearly so) outside these:

Robert Silverman, Friedrich Gulda, Ikuyo Nakamichi, Meiko Miyazawa, and Ichiro Nodaira.  Irina Mejoueva has a cycle underway.  There may be some other Japanese market only cycles, too.

Can you share a link to Pludermacher?  I'm unfamiliar with his set.

[Gurn Blanston]

Does anyone know Mozart cycles (complete or very nearly so) outside these:

Ludwig Semerjian on ATMA. I only have 4 of the disks, but I like what I hear.



[asin]B000GDH90A[/asin]

[ajb]

...has a cycle underway.

A Christian Blackshaw set has been initiated, too.

[prémont]

Siegbert Rampe on MDG is, as far as I recall, complete

[Drasko]

Ránki

That would be Ranki/Kocsis. They split the cycle.

[jlaurson]

Does anyone know Mozart cycles (complete or very nearly so) outside these:

Katin
Uchida
Perahia
Brautigam
Bezuidenhout
Dumont
Batik
Lubimov
Gould
Kraus
Kraus
Barenboim
Gieseking
Oort
Pires
Pires
Badura Skoda
Badura Skoda
Würtz
Deyanova
Pienaar
Haebler
Haebler
Klien
Larrocha
Eschenbach
Schiff
Tirimo
Jandó
Perlemuter
Schoonderwoerd
Bilson
Arrau
Mamou
Pommier
Endres
Leygraf
Horszowski
Biegel
Pirner
Rich
Hakkila
Pludermacher
Francesch
Huh
Heidsieck
Ciccolini
Gianoli
Okonsar
Ránki
Vosresensky
Engel
Schuchter
Zacharias
McCawley
Tilney
Lowy

---I am a little surprised to find that neither Brendel, nor Periah, nor Buchbinder have recorded one...

That would be Ranki/Kocsis. They split the cycle.

Thank you!

Siegbert Rampe on MDG is, as far as I recall, complete

Thank you!

A Christian Blackshaw set has been initiated, too.

Thank you!

Ludwig Semerjian on ATMA. I only have 4 of the disks, but I like what I hear.

Thank you!

Robert Silverman, Friedrich Gulda, Ikuyo Nakamichi, Meiko Miyazawa, and Ichiro Nodaira.  Irina Mejoueva has a cycle underway.  There may be some other Japanese market only cycles, too.
Can you share a link to Pludermacher?  I'm unfamiliar with his set.

Thank you! (Gulda isn't complete -- just nearly so, right? None of that "The Mozart Tapes" stuff, either...)
Will come forth with a Pludermacher-link of some sort...

seeman, rampe...

Thank  you!

[Jo498]

The Gulda Mozart tapes are virtually complete (I think one movement was lost and replayed by one of his sons, maybe one sonata is still completely missing). But other studio Gulda is far from complete, only 5 sonatas or so (one on Amadeo with 331/333 and one DG with 570, 576 and maybe another one).

I am still wondering why there is not anything forthcoming from Bavarian Radio or similar sources. Because around 1980 (time of the ominous "Mozart tapes") Gulda supposedly gave concerts in Munich (and maybe elsewhere) with all of the sonatas. Any semi-offical radio tape should sound better than the "Mozart tapes" as issued by DG...

Surprised that Arrau has a complete set and Brendel does not, I thought it was vice versa.
Is Horzsowski complete?

There is another cycle by Carmen Piazzini on Cantus (or maybe some other cheapo label).

[jlaurson]

Found Siegfried Mauser's cycle along the way... and maybe Miki Hirano (although that looks to be incomplete, as of yet).

Closest I've come to a link for the Pludermacher Integrale (on HM) is this.

[Todd]

Closest I've come to a link for the Pludermacher Integrale (on HM) is this.

Thanks.  Looks like I'll have to wait for a reissue, which may never come.

[Todd]

A second shot at HIP Mozart sonatas.  Alas, it is no more successful than the first.  Again, the instruments are to blame.  They mostly sound like broken, out of tune upright pianos.  Sound quality is quite good, which just exacerbates the unpleasant sound of the instruments.  Listening to entire discs was a chore, and I am confident in writing that this set will not receive a lot of play time here.  I do not fault Mr van Oort's playing so much.  Indeed, he plays very well, and he seems to offer more nuance and variation in style than Lubimov.  I just wish he had used better instruments.  I think I'll take a break from HIP Mozart for a while.