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MU 1274
(this is a multiple CD album sold separately)
MOZART, W.A.: Piano Sonatas Nos. 5, 8, 14, 17, 18 (Arrau) (Tanglewood Festival, 1964)

MOZART, W.A.: Piano Sonatas Nos. 5, 8, 14, 17, 18 (Arrau) (Tanglewood Festival, 1964)

The Classical Shop
release date: July 2013


Artists:

Claudio Arrau

Soloist

Venue:

Concert Hall, Tanglewood

Venue

Record Label
Music and Arts

Genre:

Instrumental


Classical

Total Time - 99:51
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MOZART, W.A.: Piano Sonatas Nos. 5, 8, 14, 17, 18 (Arrau) (Tanglewood Festival, 1964)

     
 

WOLFGANG AMADEUS MOZART

     


Select Complete Single Disc for
 

Piano Sonata No. 5 in G major, K. 283

 
1 I. Allegro 4:32
2 II. Andante 5:23
3 III. Presto 5:50
     
 

Piano Sonata No. 8 in A minor, K. 310

 
4 I. Allegro maestoso 5:33
5 II. Andante cantabile con espressione 8:00
6 III. Presto 2:49
     
7 

Fantasia in C minor, K. 475

13:38
     
 

Piano Sonata No. 14 in C minor, K. 457

 
8 I. Molto allegro 6:54
9 II. Adagio 8:43
10 III. Allegro assai 4:46
     
     
     


Select Complete Single Disc for
 

Piano Sonata No. 17 in B flat major, K. 570

 
1 I. Allegro 5:53
2 II. Adagio 8:17
3 III. Allegretto 3:38
     
 

Piano Sonata No. 18 in D major, K. 576

 
4 I. Allegro 5:07
5 II. Adagio 6:43
6 III. Allegretto 4:05
     
 Claudio Arrau Soloist


There was a time, specifically, the middle years of the 20th century, when the music in this recital used commonly to be played in a somewhat prettified, Dresden-china fashion. Nothing could be more different than Claudio Arrau’s approach to Mozart even in the relatively early stages of his career (and he was sixty-one when these live performances were given). Certainly, some other pianists in those days gave full value to the dramatic power of the minor-key sonatas, K. 310 and K. 457, though very few approached the sheer volcanic force he brought to those bass octaves in the A-minor’s finale. But you encounter Arrau’s no-holds-barred style even in seemingly less serious works: the finale of K 283, for example, already sounds, under his hands, more unpredictably Beethovenish than in the interpretations of some of his contemporaries; and in the relatively relaxed finale of K 570, he punches out the insistent staccato repeated notes of the contrasting central episode with positively demonic relish. This, then, is in an important sense "bigger" Mozart playing than was the norm 50 years ago. At the same time, the clarity of Arrau’s texture and the often airy lightness of his pedaling keeps his view of the music from transgressing 18th-century stylistic norms. And while his reputation is based to a degree on his notably classical restraint, you will find in these performances any number of moments when the wit of his timing creates a delightfully mischievous effect.

"... if you are an Arrau fan or a Mozart lover who wants various performances in your collection, this previously unreleased concert is a must. For a live concert from 1964, the sonics are simply terrific."

Lynn René Bayley - Fanfare - November/December 2013




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