Kristian Bezuidenhout (fortepiano: Paul McNulty, Divisov, Czech Republic, 2009; after Anton Walter & Sohn, Vienna, 1805. From the collection of Alexander Skeaping Unequal temperament, A=430)
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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.
Mozart: Piano Sonata No. 13 in B flat major, K333
2. Andante Cantabile
3. Allegretto Grazioso
Mozart: Variations On "Ein Weib Ist Das Herrlichste Ding", K 613
Mozart: Fantasie In C Minor, K 396
Fantasie In C Minor, K 396
Mozart: Piano Sonata No. 12 in F major, K332
3. Allegro Assai
“Bezuidenhout offers a performance that brings out all [the Fantasia's] intensity and passion...his refreshingly imaginative performances are marred only by a liking for exaggerated pauses between musical paragraphs. This disc comes strongly recommended.”
“I have no doubt that this cycle is set to become a benchmark. There is nothing fussy or mannered about Bezuidenhout's Mozart, and the tempos provide no surprises. It is exceptionally beautifully crafted, with subtlety of nuance and tiny rhythmic inflections adding immense character, with the phrase structure neatly pointed...Listening to performances of this calibre leads one to re-evaluate the importance of these works.”
“the third volume of Bezuidenhout's Mozart keyboard msuic cycle attests to the young fortepianist's remarkable technical polish and command, as well as his cultivated though sometimes overly studied interpretations...the Andante cantabile's legato and detached articulations and subtle harmonic stresses are conveyed with admirable expressive economy.”
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