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.
MDG's complete recording of Mozart's piano compositions with Christian Zacharias in the double role as pianist and conductor of the Lausanne Chamber Orchestra continues with KV 488, certainly the most-performed piano concerto by the great Salzburg composer, complemented here by KV 246 and KV 175, Mozart's very first piano concerto. Mozart himself regarded his first piano concerto of December 1773 as a gem. Five years later he continued to enjoy great success with it in Mannheim "because here it pleases quite well," as he proudly reported to his father. And even at his Vienna academies of 1782-83 the concerto still figured significantly for him. When he sent its new finale, the Rondo (KV 382), to his father, he wrote, "I made it especially for me, and nobody but my dear sister can play it after me."