Search - Wolfgang Amadeus Mozart, Richard Egarr, Andrew Manze :: Mozart: Violin Sonatas, 1781 - K. 376, K. 377, K. 380 - Andrew Manze (violin), Richard Egan (fortepiano)

Period Style well done

J. F. Laurson | Washington, DC United States | 12/09/2005

(4 out of 5 stars)

"Fortepiano and gut-strung violin in Mozart is an acquired taste to most that come to these works of Mozart (not necessarily his best to begin with) - but those who like original instruments or want to give them a try in Mozart cannot do better than this. This disc seriously challenges the Podger/Cooper collaboration in this repertoire (now in its second installement on Channel Classics) and sounds warmer and gentler than the latter. Mr. Egarr's fortepiano-playing, in particular, is a delight. Those who wish to experience the Mozart Sonatas for the first time might think of getting a different recording, though -- and alleged 'authenticity' be damned. In that case Hahn/Zhu may well be good (I too have that disc, I too have heard her in it in concert) - but the far-and-away best recording on regular instruments is the Philips disc with Uchida/Steinberg. There is little overlap between the discs, though - and a comparison between styles of playing and instruments may be as delightful as instructive. Recommended: Yes - but as always: Caveat Emptor"

Belongs in every serious Mozart collection

D. Jack Elliot | Omaha, Nebraska | 07/19/2006

(4 out of 5 stars)

"The programming of these works together is an exceptionally good idea. These four sonatas were the first pieces Mozart wrote and published upon his arrival at Vienna in 1781 -- the beginning of the final decade of his life, during which he produced that astonishing succession of masterpieces that have earned him his reputation as a towering giant of Western art. As noted in the excellent booklet essay it is generally a fallacy to interpret works of art merely as metaphors for the biographical events of the artist's life at the time of their creation; even so, I think that the exuberance Mozart must have felt in at last gaining unconstrained creative freedom when he moved to Vienna, freed from his artistically stifling servitude to the Archbishop of Salzburg, is clearly reflected in these violin sonatas.



I am especially fond of the slow movement of K. 377, possessed of a tragic pathos the equivalent of, say, the Adagio in B minor, K. 540, and of the first movement of K. 380 with its symphonic grandeur. Also of great interest is the final movement of K. 403, which was completed after Mozart's death by his colleague Städler: Mozart wrote only the first theme of the movement, up to 0:28 on this disc. Afterwards the piece is entirely Stadler's, and it is surprisingly good. Really it isn't until after the movement is finished -- once you've observed the entirety of the structural contour, once you can reflect upon the breadth of its thematic contrast and expressive range -- that you realize that this is music that falls somewhat short of Mozart's very high standard.



Be warned, however, that if you are unaccustomed to the sonority of the fortepiano of Mozart's time, these recordings might be difficult for you to enjoy at first. If you have the rich, lyric timbre of a modern grand piano in your ears, an 18th century fortepiano can sound almost like a banjo at first. But I know three pianists who have specialized, at one time or another, in the fortepiano and its repertoire, and they've all noted that once that's the sound you have in your ears, it's the modern piano that comes off all wrong: playing Mozart on a big Steinway grand makes everything thick and muddy, all the textural and rhythmic nuance lost in a fog of reverberation and slow decay. So it's a matter of perspective. If you do balk at the thought of leaving fat, Brahmsian piano tone behind in the name of authenticity, then, I encourage you to give this disc two or three listenings. Remember that this is the instrument Mozart had in mind; even if you don't at first, you'll soon come to hear that the authentic, period instruments serve these scores admirably."

An acquired taste!

Mike Chuang | Beethoven Land | 11/16/2005

(3 out of 5 stars)

"This is not the CD for everyone. While I rave about Manze playing Bach concerti and Tartini's Devil's Trill to everyone and anyone, this one I am less thrilled about for the public. For one, I just heard Hilary Hahn in recital playing one of the Mozart sonatas. I now own her Mozart CD and is loving every moment of it. I perfer it over the Perlman/Barenboim version. Perlman's sweetness and narrow tone doesn't shine like Hahn's over the top yet naive sound. I also like her elaborate and elegant style. Manze's tone is certainly more dainty and exquisite. While his sound is still full and tender but its less thrilling than that of Hilary Hahn's. To me, if you already owned and enjoyed Manze's baroque sonata CDs, having this CD will ehance your existing collection. If you are not familiar with Manze and his baroque style, then you may want to go to your local Borders and listen the CD before you buy it. Spend a lot of time listening to it before you buy it.



I am giving it only a three star because I still don't know if I like it or not. When I first heard the recording, I melted. The tone was soft and buttery smooth. After a while, his interpretation became a plain and mundane. Unlike his Bach concerti and Tartini CD, which I think are two of his most insightful CDs, I have not yet discover anything "special" he could say about Mozart's music. I am still glad I bough this CD because I have never heard of Mozart in this type of playing. Whether this becomes a true favourite of mine or just a CD for background music, only time can tell.



Be cautious! Listen to the CD for a considerable amount of time before buying it."