Following Anthony Goldstone’s surveys of rare and previously unrecorded music by Schubert and Beethoven (some original, some in arrangements) and the groundbreaking disc of Mozart piano duo works made with Caroline Clemmow (5046) this is perhaps his most ambitious project to date, including two completely new sonatas, realised from sketches left by Mozart, and several other newly-completed pieces. Approved with enthusiasm by Mozart scholars, including Julian Rushton who wrote the booklet notes, these wonderful new completions will soon be part of the standard Mozart repertoire. All first recordings.
"...The five completions and four realisations were all written for keyboard, so there is no transcription from another medium. Of particular interest are two ‘new’ sonatas, in F major and G minor respectively. The accompanying notes by Julian Rushton give a comprehensive analysis of the background and completion of all the items, played with consummate ease and lyrical sensitivity by a master of his instrument. For lovers of Mozart and/or piano music this is a must."
UK Federation of Recorded Music Societies - Summer 2007
“Finishing Mozart needn’t be a sacrilegious act, as may be heard… particularly [in] the Praeludium in C major. When [Goldstone’s] playing is sympathetic to his best creative efforts, he makes for very absorbing listening.”
“Of the works realised by Goldstone... the structures are clear and the invention (Where does Mozart leave off?) highly creative in terms of melody, rhythm and harmony – all in the context of Mozartean style. Goldstone has approached his tasks as a highly cultivated and seriously motivated musician whose credentials include some recordings of insight and imagination. With very good sound and entertaining and delightful [music] this may be purchased with confidence.”
Performance ***** Sound *****
“Fascinating and beautifully recorded disc. Goldstone has done a sterling job.”
“Long immersion in Mozart’s unfinished compositions has enabled Goldstone to feel the potential of the relationship between fragmentary movements. The playing is unfailingly thoughtful, undemonstrative, observant of the varying stylistic demands. The sound is fresh, clear and free of excessive resonance…a major benefit is the detailed and highly informative essay that Julian Rushton has written… this is a fascinating and significant issue”