Customer Reviews

Mozart Piano Sonatas K. 279, K. 280, K. 281 on Fortepiano Vol. 1

5 star:		(6)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I recently purchased Robert Levin's CD of Mozart's first three piano sonatas and thoroughly enjoyed his performance. This recording uses a replica of a piano that was familiar to the composer. The sound of this piano is bright, clear, delicate, vibrant and powerful in forte passages. Levin's improvised embellishments make this CD extra special. Each repeat is played with added ornaments and cadenzas, a common practice in Mozart's time. Levin conveys the affect of Mozart's music beautifully. The fast movements are exuberant and rambunctious. The slow movements are tender and poignant.

I was surprised to find a bonus DVD that accompanied the CD. (No information about the DVD was presented in the description of the recording.) This video contains a "behind the scenes" look at the recording process, the character of the music, the different qualities of the Viennese piano compared to a modern piano, and a performance of the finale of K 279. I hope the subsequent volumes in the series have the same kind of DVD.

These three sonatas, written when Mozart was still in his teens, are intended to be the first volume in a series that will explore the concurrent development of both Mozart's piano music and the instruments for which they were likely composed. Although Levin recorded these in his late 50s, one might well imagine that the 40-year-younger Mozart handled his own music similarly. If you are familiar with Levin's earlier recordings of Mozart concertos, you will not be too surprised at the result, but if your standard is smooth, unornamented performances on a modern piano, you will be forced to reject, to think, or possibly to do both. Levin's style is equally valid, but surely more authentic. If you haven't the slightest interest how it might have sounded in 1775, you will not wish to invest in this package.

The companion DVD is extremely useful to understanding what is going on. You may even wish to watch it before you listen to the music, but even if you enjoy the CD (as did I) be sure to take a look.

For the person who complained about wanting scores included also, anybody interested in this disc will want to know about the "Digital Mozart Edition" -- Amazon doesn't like URLs in its reviews, so just enter the above phrase in Google, and don't be put off by the German title -- there is an English-language interface on the site. Not only these three sonatas, but everything the man wrote.

I would agree with the reviewer below. Levin's performances are incredibly exciting. Amusingly, in some ways, his approach is closer to Gould's than either he or the late, great Glenn would care to admit. The secco touch, the unromantic phrasing, the intensity and rude fortissimi - this is not your grandma's Mozart. But to these ears, it sounds close to the real thing. As the kiddies used to say, this disc rocks.

The dvd extra is pretty good, esp. the full performance of an excerpt from k. 279. Aside from that the best parts are when Levin demonstrates the music or discusses the mechanisms of the piano and fortepiano. I also would have preferred if they had included scores to print out, as was done with Mutter's recording of the Beethoven Violin Sonatas.

BTW, the inclusion of a "free" dvd should give all consumers considerable insight into just how much of a profit the record companies were making off cd's until the advent of mp3.

This is the best performance of Mozart pinao sonatas. Very crisp and yet free (a bit too free in terms of tempo for my taste) for fast movements. This is how Mozart would play with his crazy, sparkling spirit. I wish Levin would play them on a modern piano. Not really into the slow movements with a fortepiano; it is much harder to sing with it, I suppose. The DVD is short but highly educational. You cannot find a more knowledgable and enthusiastic Mozart scholar than Levin.

Improvisation was very important practice in the 18th century's European music. Bach, Mozart, Beethoven was great players who could improvise for half an hour. They and the other players of that time actually played the written music with this style also: they improvised cadenzas, they added ornamentations to the pieces and completes the tunes. Composers wrote music in expectation of it. Now in the 21st century improvisation is still important. But unfortunately not at the classical music. Robert Levin is a performer who tries to get back this practice and tries to play these music in the improvisation style of the 18th century.

If you are a listener who wants to hear "only what is on the score" you will hate it. But if you want a fresh, intelligent and exciting performance it is for you. (It is good if you are already familiar with these pieces.)

Levin freely adds his own ornamentations, his short improvised cadenzas which are always perfectly fit to the actual movement. Performers usually leave out the repeats from these sonatas. Here Levin does not but he always changes the music when he repeats. He always handles the music most freely in the last movements. Listening to this album for first time: for me it was almost a live performance. Of course the recording freezes the most beautiful improvisation (because we can listen to it again and again) but at first time it was a huge experience.

The tempo is just right. The sound of the instrument is on the small scale but pleasing (it do not has the dynamic range of the modern concert grand but Levin uses its smaller potential fine).

Two smaller problems: the soundstage too wide and you hear most of the notes mainly from the left side. Although the tempos of the slow movements are not bad but I would welcome a little bit more romantic approach like on Brautigam's complete box.

A note on Gould: I don't like his Mozart sonatas. He is an anti-romantic performer like Levin but the similarity ends here. Comparing this album to his recordings on YouTube: Levin always stylistic and knows the style well. Gould completely misses the point.

I absolutely love the cd.. The music, needless to say, is heavenly !!!
Some ppl who buy Levin's cds wonder why he chooses a fortepiano sometimes.The DVD that comes with it has Levin demonstrating why he chose the fortepiano against a regular piano. You will absolutely love it.

Musical decisions aside, there's a severe audio problem on my mint copy of this recording. An idle tone at about 16khz is quite audible and relatively high in level throughout the disc. Mozart sonatas and dog repellent all-in-one. Sorry Mr. Levin, but this disc is unlistenable.

Robert Levin can play this music very fast. Unfortunately, playing Mozart too fast makes the music sound facile and shallow. In Mozart, more than any other composer, the spaces between the notes are very important.

Also, while I admire the clarity which the pianoforte brings to the music, the richness and depth which a Kempff or a Pires can bring to the music are sorely missed. I agree with the reviewer who says this performance reminds him of Glenn Gould's performances of Mozart. Only problem is, while Gould's Bach was great, his Mozart was mechanical.

To hear this music at its optimum, get either of Maria Joao Pires' recordings on Denon or DG. The DVD is very informative and entertaining.