Composer: Wolfgang Amadeus Mozart
Works: Piano Sonatas in F, K. 332; in B flat, K. 333; in C minor, K. 457; Adagio in B minor, K. 540
Performers: Alfred Brendel, pianoforte
Recording: Recorded 7-8.7.2000, Snape Maltings Concert Hall (K. 457), 21-25.1.2000, Glyndebourne Opera House (others)
Label: Philips 468 048-2
Mozart’s piano sonatas, often overshadowed by his piano concertos, demand an equal measure of interpretive depth and expressive nuance. This collection, featuring K. 332, K. 333, K. 457, and K. 540, showcases Alfred Brendel’s long-established affinity for the composer’s work. Recorded at the turn of the millennium, this performance reveals a seasoned artist grappling with the essence of Mozartian lyricism while embodying both spontaneity and meticulousness. Brendel’s long journey with these sonatas has culminated in a recording that balances structural clarity with emotional immediacy.
The first sonata, K. 332, opens with a steady tempo that initially evokes a sense of solemnity reminiscent of the grand orchestral interpretations of past masters. However, Brendel’s interpretation evolves. The slow movement reveals his profound sensitivity; the “Alberti bass” transforms into a delicate rocking motif, resonating like a whispered conversation. In the finale, Brendel’s approach feels remarkably improvisational, as he seamlessly transitions into the “dolce” melody after the opening flourishes, imbuing the minor episodes with a tender nostalgia that belies their inherent tension.
In contrast, K. 333 radiates a grace that is as disarming as it is charming. Brendel’s nuanced touch accentuates the warmth of E flat major, and the first movement showcases a delicate interplay of articulation, with subtle variations in chord voicings contributing to the impression of spontaneity—an illusion of ad libitum playing for an intimate audience. The finale is particularly invigorating, where Brendel’s impetuous accents on syncopated left-hand chords enliven the texture, inviting listeners to experience the joy of Mozart’s playfulness.
K. 457 marks a departure in emotional intensity and complexity. The outer movements are characterized by a vigorous, almost tempestuous energy, with brisk triplet runs that propel the music forward, suggesting an urgency that is both electrifying and poignant. The slow movement, a remarkable study in contrast, showcases Brendel’s prowess in tonal shading as he navigates through key changes with remarkable fluidity. A striking moment occurs in the G flat major episode, where Brendel’s choice to emphasize the lower right-hand voice draws attention to a melodic underpinning that is often eclipsed by more conventional readings.
The Adagio in B minor, K. 540, while perhaps the least compelling of the selections, still has moments of profound beauty. Here, Brendel’s interpretation skews slightly didactic, as if he were imparting lessons rather than embracing the emotional weight of the music. This contrasts sharply with the fervent passion exhibited in the other works, and while it may resonate differently with various listeners, the emotional detachment in this movement feels less aligned with the visceral qualities of Mozart’s best.
The recording quality is commendable, capturing Brendel’s Steinway with a lithe and slender sound that complements the clarity of his phrasing. The engineering provides a warm acoustic that envelops the listener, allowing for a rich exploration of the timbral contrasts inherent in Mozart’s writing.
Brendel’s interpretations, while informed by a mature understanding of the repertoire, do not shy away from the playful spirit that defines Mozart. His artistry here offers a compelling argument for the enduring relevance of these sonatas, positioning them alongside the works of Beethoven and Haydn in terms of their depth and complexity. This recording will undoubtedly serve as a reference point for future generations, exemplifying how to balance technical proficiency with the emotive core of Mozart’s genius. Such a synthesis of spontaneity and artistry reaffirms Brendel’s place as a distinguished advocate for Mozart’s piano works, ensuring that both the seasoned listener and the novice will find much to admire in this remarkable collection.
