Mozart: Keyboard Music Volume 7

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in every bar Bezuidenhout establishes his complete mastery over the instrument by means of an extraordinary delicacy and refinement of touch and shading. He's a remarkable virtuoso, and a dazzlingly... — BBC Music Magazine, February 2015, 4 out of 5 stars More…

Release Date: 12th Jan 2015
Catalogue No: HMU907531
Label: Harmonia Mundi
Series: Bezuidenhout Mozart Series
Length: 72 minutes

Gramophone Magazine

February 2015

Editor's Choice

Mozart: Variations (9) in C major on a theme by Nicolas Dezede ‘Lison dormait' K264

Work length16:29

Album only

Mozart: Piano Sonata No. 8 in A minor, K310

Work length16:33

$3.20

$4.00

$4.65

I. Allegro maestoso

Track length4:01

$1.00

$1.25

$1.45

II. Andante cantabile con expressione

Track length9:25

$1.20

$1.50

$1.75

III. Presto

Track length3:07

$1.00

$1.25

$1.45

Mozart: 6 Variations on 'Mio caro Adone' in G Major, K.180

Work length8:36

$1.20

$1.50

$1.75

Mozart: Piano Sonata No. 6 in D, K284 "Dürnitz"

Work length29:40

Album only

I. Allegro

Track length7:26

$1.20

$1.50

$1.75

II. Rondeau en polonaise: Andante

Track length4:45

$1.00

$1.25

$1.45

III. Thema: Andante. Vars. I-XII

Track length17:29

Album only

About
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About

In Volume 7 of his internationally praised Mozart cycle, Kristian Bezuidenhout includes two works influenced by Wolfgang's 1778 stay in Paris: the grandly proportioned Sonata in A minor, K310 and the dazzling Variations in C on 'Lison dormait', K264.

Kristian Bezuidenhout was born in South Africa in 1979. He studied at the Eastman School of Music, where he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. He now lives in London. Bezuidenhout is a frequent guest artist with all of the principal period ensembles and orchestras of Europe, often assuming the role of guest director, and he collaborates regularly with many of today’s most celebrated artists.

He is a guest professor at the Schola Cantorum (Basel) and the Eastman School of Music (Rochester, New York) and he is Artistic Advisor for the Constellation Center, Cambridge, Massachusetts.

His recordings for harmonia mundi have garnered consistently brilliant reviews. Volume 1 of his ongoing cycle of Mozart’s keyboard works was awarded a Caecilia Prize and Gramophone 'Recommends'; Volume 2: Classic FM Magazine Editor’s Choice *****, IRR Outstanding and CD Review Disc of the Week; Volume 3 a BBC Music Magazine Instrumental Choice and Volume 4 and IRR Outstanding.

Reviews

February 2015

in every bar Bezuidenhout establishes his complete mastery over the instrument by means of an extraordinary delicacy and refinement of touch and shading. He's a remarkable virtuoso, and a dazzlingly imaginative, multi-skilled Mozartian. He decorates repeats with style and wit.

February 2015

Hearing the discs themselves, one can hardly take one's ears off the performances because they go so far inside the music and reverse much of what you thought you knew...Bezuidenhout's elastic tempi give him room to probe for meaning but also allow panache that's so much a part of Mozart's buoyant temperament.

May/June 2015

enchanting…Bezuidenhout doesn’t stint on the sonata’s [K310] depth of feeling; he conveys he Allegro maestro’s pounding intensity and the desolate Andante cantabile with total conviction. He’s also adept at teasing out the delights to be found in less challenging works…his sensitive touch and perfect timing confirm him as a true poet of the fortepiano.

February 2015

Bezuidenhout displays a consummate ease and naturalness at the instrument that seems second nature: he and the fortepiano are one...his interpretations continue to shed new light on these rich and varied works, even for listeners long familiar with them...if luck is on our side, the future may hold in store more of the robust, virtuosic and multi-faceted pleasures of Bezuidenhout’s Mozart.

20th February 2015

Bezuidenhout’s latest Mozart piano album has a peacock flourish about it. That’s partly due to the instrument, a modern reproduction of an 1805 fortepiano. The crisp attack and variety of tone are exceptional. Then there’s Bezuidenhout’s ornate artistry...Put instrument and artist together, though, and you have a perfect example of “going at it hammer and tongs”.

Mozart: Keyboard Music Volume 7

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