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Mozart: Adagio in B minor, Piano Sonatas K 332, 333, & 457
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Mozart: Piano Sonatas K.322, K.333 & K.457
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Track Listings
1 | Piano Sonata In F Major: Allegro |
2 | Piano Sonata In F Major: Adagio |
3 | Piano Sonata In F Major: Allegro Assai |
4 | Piano Sonata In B-Flat Major: Allegro |
5 | Piano Sonata In B-Flat Major: Andante Cantabile |
6 | Piano Sonata In B-Flat Major: Allegretto Grazioso |
7 | Piano Sonata In C Minor: Molto Allegro |
8 | Piano Sonata In C Minor: Adagio |
9 | Piano Sonata In C Minor: Allegro Assai |
10 | Adagio In B Minor |
Editorial Reviews
Product description
BRENDEL ALFRED
Amazon.com
Alfred Brendel is revisiting favorite composers and works, and his latest account of these Mozart Sonatas and the great B minor Adagio is masterful. While not too different from his earlier recordings, they have greater incisiveness and power in the faster movements and more depth in the slow movements. A highlight is the B minor Adagio, one of Mozart's greatest keyboard works, in which Brendel's poetry is allied to profundity. The C minor Sonata, K. 457, is another masterpiece that Brendel invests with poise, yet he never downplays the turbulent emotions breaking through the classical frame. The earlier sonatas, too, have a lyric intensity and vibrancy that separate these performances from the crowd. Recent Brendel recordings and recitals indicate a new warmth and color in his playing, and the outstanding engineering captures that here. --Dan Davis
Review
Alfred Brendel seems to have attained a new level of serenity in his latest Mozart recital. At least, serenity is the right word for the easeful poise he brings to the F major and B flat Sonatas, wrongly ascribed to the late 1770s as Alan Tyson showed, they probably date from the summer of 1783, when the Mozarts were visiting Salzburg. The delicacy, the tension too, with which Brendel meets the varying demands of these two sonatas is remarkable. One can sense that Mozart was, in his mind, preparing for the major orchestral works of the following Vienna season. When Brendel reaches the C minor work, serenity is no longer appropriate. Its amazing first movement is all fire and passion, ending in psychological (not physical) exhaustion. Brendel here favours the Allegro marking from Mozart's own Catalogue. Mitsuko Uchida, obeying the first edition's Molto allegro, dashes through the movement, missing its more reflective touches. Brendel, felicitously taking the Adagio marginally faster than do some pianists, is wonderfully poised, even when a dramatic touch supervenes. And the Allegro assai finale in this performance combines and contrasts simplicity with urgent power. The lone Adagio in B minor is the proper, indeed the inevitable, consummation of this recital. The sense of desolation is powerfully realized, which makes the final consolation of the major key the more moving. In this repertoire, Uchida is a shade more exciting, yet less poetic. Brendel gives us superb playing, enhanced by a recording of warmth and spaciousness in the clear acoustic of Glyndebourne (K457 alone dates from a later session, at Snape). There is a good introductory note the only important information missing from the insert booklet is the identity of the piano(s). It's not too early to put this CD on your Christmas list both for receiving and giving. Peter Branscombe -- From International Record Review - subscribe now
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.88 x 5.59 x 0.59 inches; 3.67 ounces
- Manufacturer : Philips
- Item model number : 028946804827
- SPARS Code : DDD
- Date First Available : September 2, 2000
- Label : Philips
- ASIN : B00005O83V
- Number of discs : 1
- Best Sellers Rank: #258,044 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #780 in Classical Sonatinas
- #7,634 in Chamber Music (CDs & Vinyl)
- Customer Reviews:
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And what a wondrous vision are we offered here! We can marvel at three of the most spectacular and sniffed by the music-lovers sonatas: K 332, K 333 and K 457. As a special encore, we are delighted also with the magic Adagio in B minor K 540.
We have come to expect now that all that Brendel decide to include in his repertory has to be touched by his inspired attitude of respecting at the highest degree the composer's will, annotated scrupulously in the score. What are then the liberties of the interpreter facing the tyranny of the score? Brendel explains us in a very logical - and appealing, after all - manner of playing: there is a borderline of each masterpiece to be found out properly by the interpreter, the latter being entitled to move relatively freely within that borderline but taking great care that moving outside it - by setting a new light on the piece or imposing a too personal view in contradiction with its own character - the piece itself gets falsified.
No such a danger with Brendel at the keyboard! In this third act of the Mozart series (comprising in 4 CDs no less than 12 sonatas and other solo works) the highlights are the late C minor Sonata K 457 and the voluptuous B minor Adagio K 540, two works unfolding a mellow Mozartian artistry, with unexpected iridescences pinpointing to a - yet hopeful - melancholy (Adagio K 540) or rhythmic outbursts (take for instance the first movement of K 457).
Alfred Brendel proves that Mozart can be youthfully played even when you are 70 with the only condition to be honestly and totally immersed in this brilliant music full of enchanting perspectives and burdensome premonitions. It is a commonplace that Mozart belongs to that super-class of composers who choose very severely the proper artists to perform his music.
But - fortunately - Alfred Brendel is one of them!
*The other side of the peak is represented by Beethoven sonatas, but in this case Brendel recorded the complete cycle three times during his career, the last traversal - and the most accomplished one, in my opinion - in the mid `90!
The new k540 is tougher, deeper, and darker, approaching but not surpassing Claudio Arrau's monumental version. The k457 shares all of these qualities, plus more explosiveness in the outer movements. I had long adored k332, preferring it to its neighboring sonatas k330 (with a fine second movement plumbed by Clara Haskil), k331 and k333 (also played beautifully here). And was both surpised and gratified to learn that k332
is now considered to have been written five years later than previously. Brendel reveals its stature- it is a perfect work. This recital is quite valuable. I hope that the last Mozart sonata release that I have heard (including k 281, 282, and 576) is not the last. Still unissued: k279, 280, 283, 284, 309, and 545.
Peers-Haebler in all, Arrau in K457 and k540 (Philips) and k332 (Orfeo-live Salzburg recital 1956). Larrocha is very good but slightly better on Decca than RCA Victor.
I highly recomend purchasing a copy of the pronted music to follow along wih any recordings of Mozart as performed by Brendel. You will be astounded by the subtle yet powerful improvisations that you will find littered throughout your listening experience.
You will not be dissapointed!!
Top reviews from other countries
Le programme, qui réunit deux oeuvres en mode majeur (les sonates K332 et 333) et deux oeuvres en mode mineur (la sonate K457 et le sublime Adagio K540) est magnifique.
L'interprétation, quant à elle, constitue selon moi une forme d'idéal. Tout au long de sa carrière, Brendel s'est efforcé, en jouant Mozart, de ne négliger ni la légèreté (la fantaisie, la grâce) ni la profondeur (la douleur et les abîmes). Et il arrive dans ce disque à un point d'équilibre remarquable: le phrasé est libre, aéré, mais la sonorité est riche et l'émotion constante. Ecoutez, par exemple, l'Adagio K540, dont la dimension abyssale a été si bien révélée par Arrau : on ne saurait dire ici qui, du drame ou de la lumière, l'emporte sur l'autre!
Les enregistrements de sonates pour piano de Mozart ne manquent pas, mais bien peu sont aussi beaux!
NB: contrairement à ce qui se fait souvent, Brendel ne fait pas précéder la sonate K457 de la Fantaisie K475.