This complete cycle of Mozart piano sonatas, with some very desirable additions, has been winning raves in its native Britain, and it's a pleasure to report that they're fully justified. Class Leon McCawley's interpretations of Mozart under two headings -- under that of recordings that place the Mozart sonatas at the center of his output, instead of to the side where they have long resided, and under the more general heading of modern-instrument recordings influenced by the discoveries of period-instrument performers. Class ...
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This complete cycle of Mozart piano sonatas, with some very desirable additions, has been winning raves in its native Britain, and it's a pleasure to report that they're fully justified. Class Leon McCawley's interpretations of Mozart under two headings -- under that of recordings that place the Mozart sonatas at the center of his output, instead of to the side where they have long resided, and under the more general heading of modern-instrument recordings influenced by the discoveries of period-instrument performers. Class them also as fully thought-out, technically unimpeachable performances of the first class. McCawley takes pains to make his piano sound nearly as smooth as a fortepiano, and to bring out small details hidden in the performances of pianists who bang away. He is alert to the distinctive textures of each sonata, drawing on the insight that Mozart's keyboard textures developed hand in hand with his ability to exploit the large orchestral textures popularized by the Mannheim court...
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