Customer Reviews

Mozart: Piano Sonatas

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There are some differences of opinion about how to play Mozart. The traditional view is that he is a composer of the classical period; however, there have been artists who believe he is better grouped with the later, romantic composers, with more in common with Beethoven and Chopin than with Haydn. Thus it is that you can get Horowitz recordings of Mozart piano sonatas which unabashedly exploit the tremendous dynamic range of a modern concert grand piano, or Barenboim recordings that use rubato extending well beyond the classical definition of "borrowing" time from one part of the music to another.

De Larrocha's interpretations on this disk are clearly in the classical school, not the romantic. Her interpretations of these piano sonatas are light, clean, and beautiful; she uses her concert grand to elicit subtle dynamics, rather than broad ones. Her rubatos are gentle and largely limited to the melody and the right hand, as Mozart himself is said to have played; her focus is on playing these sonatas as Mozart wrote them, rather than on leaving her own imprint on the music.

For Mozart's solo piano pieces, such as these sonatas, I much prefer de Larrocha's classical approach. I'm happy to transform my ear phones into a concert hall with Beethoven or Brahms, but I like Mozart sonatas better as chamber music in the intimacy of my parlor.

If you, too, wish to hear a clear, classical set of Mozart sonatas as Mozart composed them, you won't go wrong with this disc.

One of the basics of Mozart's music is that it is difficult to play. In a specific sense, every note is out there alone, transparent. As such, mistakes are obvious and flaws in technique readily apparent. Whether is is simply a sustained note in an opera, a limpid passage in an adagio or the quickness demanded by a vivace, the waver of a diaphragm or clumsiness of a finger can ruin everything. Add to that the fact that Mozart demands both proper phrasing and a unity of overall phrasing so that and you have a large musical responsibility before you even get to matters of interpretation. In all of these aspects, Alicia de Larraccha succeeds and excels, with wonderful interpretations synthesizing superb technique, a deft and appropriate touch and decorous sentiment. If the exceptional Uchida can be faulted, it is that, at rare moments, some of her phrases are overwrought and, as a result, precious where Mozart never intended such. De Larroccha is always within the bounds of interpretive unity and as close to Mozart's intentions as we can be two centuries later.

When de Larrocha finally got around to recording the complete Mozart Sonatas and concertos for RCA, the cycle was uneven interpretively and even technically.

But this was the first volume issued and the performances of K. 333 and K. 283 are, by far, my favorite versions of these pieces. Her technical control are extraordinary, especially in the Alberti bass of the first movement of K.333, which is played with a controlled virtuosity that was a hallmark of her artistry; it never sounds mechanical.

Also, amazing is a feeling for rhythm which is a another De Larrocha trademark, which made her Mozart unique and different from just about any other pianist I can think of.

Unfortunately, K.331 and K. 332 while good, are less than inspired. Her earlier recordings on London/Decca of these pieces are far preferable. Some passages should have been re-done, b/c interpretively the playing is less than inspired and even sounds a bit sloppy.

One serious drawback, however, is the sound. It's thin and lacking in the wonderful acoustic "glow" that Uchida's versions have. Uchida is also good interpretively, but deLarrocha is inspired.

But I have no idea why RCA's recorded sound is so inferior to Phillips.

Wonderful music by Alicia De Larrocha of Mozart's Piano Sonatas K283, K331 (my favorite), and 332 & 333 (3 pieces per each of the 4 compositions =12 pieces).

It gets real quiet around my neighborhood when I play this cd because everyone around is trying to listen. Alicia has been honored repeatedly as one of Spain's greatest musical artists. I have never studied music, but thanks to the review by Warren J. Dew, I now understand that there are different approaches to playing classical music which can make the music sound so different. If this is the classical approach, then that's how I want it played.

Alicia De Larrocha's version of these piano sonatas can probably best be described along the line of having the Vienna Philharmonic play Johann Strauss 11. Very lovely & genuine indeed!
According to my research, Mozart was never able to publish any of his piano sonatas, and only a few survived. The ones he sent home to his sister to practice survived. He intended these sonatas not for the concert, but for private playing at someones house estate.

This is wonderful Mozart beautifully played. The issue I have with the cd is the sound. It just doesn't seem to be a good recording- it doesn't sound clear or loud enough. It sounds muffled. Otherwise the pieces are skillfully performed.

de la roccha's interpretation of Mozart's Sonata K 331, third movement, is i believe the way mozart intended it to sound, less frenzied but playful with occasional bravado . great purchase for a very reasonable and affordable price. thanks- maria 'ongkit' arce

Mozart at his best and Alicia de Larrocha at her best. This is perhaps my favorite classical CD.