With this double set encompassing volumes five and six, fortepianist Kristian Bezuidenhout completes his multi-disc survey of Mozart's music for solo keyboard. The first four volumes in the series have been met with the highest critical acclaim from around the world. On this collection Bezuidenhout performs a mix of Piano Sonatas, Variations and other works on a fortepiano by Paul McNulty that was modeled after an instrument made by the great instrument maker Anton Walter.
Fortepiano phenomenon Kristian Bezuidenhout begins his multi-volume traversal of Mozart’s music for solo keyboard.
In Volume 3 of his widely acclaimed traversal of Mozart’s music for solo keyboard, fortepianist Kristian Bezuidenhout plays a modern reproduction of an 1805 Viennese instrument by Anton Walter. The programme includes the well-loved Sonata in F major K. 332, alongside Mozart’s very last composition for piano, the Variations K. 613. Kristian Bezuidenhout was born in South Africa in 1979. He began his studies in Australia, completed them at the Eastman School of Music in the USA and now lives in London. He is a frequent guest artist with the Freiburger Barockorchester, the Orchestre des Champs-Élysées, the Orchestra of the Eighteenth Century, Les Arts Florissants, the Royal Concertgebouw Orchestra, The English Concert, the Chamber Orchestra of Europe and Collegium Vocale Gent, in many instances assuming the role of guest director.
On volume four of his widely acclaimed traversal of Mozart's music for solo keyboard, fortepianist Kristian Bezuidenhout performs on an instrument by Paul McNulty, modeled on a Viennese original by Anton Walter & Sohn (c.1805). The program includes Piano Sonatas in D major K.311 and G major K.283 and the lovely Variations on 'Je suis Lindor' in E flat Major, K.354. As with the other volumes in this exceptional series, Bezuidenhout brings out colors and shadings in these works that are only possible when performed on a fortepiano.
This is a significant recording for several reasons. Sergio Vartolo has now recorded all of Frescobaldi’s keyboard music (the other issues were on the Tactus label). The Fantasie (1608) and Ricercari (1615) are the earliest of Frescobaldi’s keyboard publications (the latter being issued in the same year as the more famous first book of Toccatas), and as far as I’m aware neither had been issued complete before; so to get both together, and at super-budget price, is treasure-trove indeed. Frescobaldi fanatics need read no further. (Gramophone)