Composer: Wolfgang Amadeus Mozart
Works: Piano Sonatas, Volume 3: Sonata in A minor, K310; Sonata in C major, K330; Sonata in A major, K331
Performers: Roberte Mamou (piano)
Recording: Recorded 1991, Ghent
Label: Pavane ADW 7248
Mozart’s piano sonatas stand as a testament to his genius, encapsulating the transition from the galant style to the more profound emotional expressions of the Classical era. Volume 3 of Roberte Mamou’s reissued recordings of the complete sonatas offers a rich exploration of three pivotal works: the A minor Sonata, K310, marked by its dramatic intensity; the C major Sonata, K330, a fine example of clarity and balance; and the A major Sonata, K331, known for its exquisite lyricism and playful character. These works, composed during a period of personal and artistic turbulence for Mozart, reveal not only his compositional prowess but also his emotional depth.
Mamou’s interpretations are characterized by an acute sensitivity to the stylistic nuances of Mozart’s language. She opts for a modern piano rather than a fortepiano, which, while a departure from historical performance practice, provides a clarity and resonance that serves the music well. In the A minor Sonata, K310, the first movement’s obsessive rhythmic motif is compellingly rendered, with Mamou capturing the urgency inherent in the music (TRACK 1, 0.00). However, her interpretation of the Andante cantabile (TRACK 2, 1.30) lacks the expressive depth one might expect from Mozart’s marking of ‘con espressione.’ This results in a somewhat conventional reading that does not fully embrace the emotional weight of the piece.
In the C major Sonata, K330, Mamou’s interpretation shines, particularly in the opening Allegro moderato (TRACK 4, 0.00), where her tempo and phrasing reveal an innate understanding of Mozart’s balance between exuberance and restraint. The clarity of her articulation allows the thematic material to unfold naturally, and the contrasts between sections are deftly managed. The A major Sonata, K331, also benefits from her ability to shape the opening movement variations into a cohesive whole, rather than a mere sequence of individual ideas. The minuet’s relative slowness creates a delightful juxtaposition with the spirited ‘Turkish’ rondo, which is characterized by pointed phrasing and a vibrant rhythmic pulse.
Recording quality is generally excellent, with a natural and clear sound that respects the nuances of the piano’s tone. However, the accompanying notes fall short of providing adequate historical context and a deeper understanding of the sonatas themselves, reducing the rich narrative surrounding these works to overly simplistic statements. Notably, the misattribution of K331 as being in E major undermines the listener’s appreciation of the sonata’s inherent structure and character.
Roberte Mamou’s performances in this volume present a thoughtful and engaging exploration of Mozart’s piano sonatas, although they occasionally lack the emotional resonance required to fully illuminate the depth of the music. Her ability to navigate the complexities of Mozart’s style is commendable, and while some interpretative choices may not resonate as strongly as others, the overall execution reveals a pianist who is deeply attuned to the essence of the repertoire. This collection is a worthy addition for those seeking a fresh perspective on these beloved works, particularly in the context of Mamou’s broader discography of the complete sonatas.
