# Best Mozart piano sonata?



## SimonDekkerLinnros

What do you think is the best piano sonata by Mozart? 
Mine is the twelfth, but I haven't listened enough on his sonatas to know for sure.


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## isorhythm

The last one, D major, hands down.


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## Kieran

I like K533/K496, and K576 and K570 too, but I think the c-minor, K457, is an immense work. I think Mozart's piano sonatas are a great body of work, given that they never seemed to be a huge priority to him...


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## Chordalrock

No. 12 in F major is top-notch in all the movements, probably my favorite (Mozart) sonata on the whole.

The best single movement I'd say is that of no. 8 in A minor, 1st movement, which I used to be able to play most of. The 3rd movement is a favorite as well.


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## silentio

I think either K.533 or K.576 is the greatest. But my personal favorite is K.310 in A minor.


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## Kjetil Heggelund

No. 13 especially and especially all the others


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## ArtMusic

Kieran said:


> I like K533/K496, and K576 and K570 too, but I think the c-minor, K457, is an immense work. I think Mozart's piano sonatas are a great body of work, given that they never seemed to be a huge priority to him...


Those are among my favorites too.


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## Bulldog

Starting with K. 309, they are all wonderful.


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## Blancrocher

SimonDekkerLinnros said:


> What do you think is the best piano sonata by Mozart?
> Mine is the twelfth, but I haven't listened enough on his sonatas to know for sure.


If you've not yet explored all of the solo piano works, be sure to check out the fantasias, variations, etc. in addition to the sonatas.

My favorite solo instrumental work by Mozart is the Adagio in B minor:


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## Bruckner Anton

Mozart had written 13 "piano" sonatas before he obtained his own fortepiano. So his earlier sonatas probably served double duties - for both harpsichord and fortepiano, while his later sonatas shown an increased focus on the sound dynamic and contrast, which obviously favored fortepiano.
For his earlier sonatas, K.333 is particularly attractive. We immediately sense how subtle and beautiful the melodies are.
For his late sonatas, K.457 is noticable because of its dark and stormy character, which can also be found in various mature minor-key works of the composer. K.457 is usually pared with Fantasy K.475.
K.576 is perhaps the most sophisticated of his piano sonatas, which is, to some extent, the best one in the set.


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## isorhythm

Blancrocher said:


> If you've not yet explored all of the solo piano works, be sure to check out the fantasias, variations, etc. in addition to the sonatas.
> 
> My favorite solo instrumental work by Mozart is the Adagio in B minor:


On that note, here's mine:






(Btw I'm not particularly pushing Uchida with these posts, though she is great, she just happened to be the first video that came up for both.)


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## Pugg

Kieran said:


> I like K533/K496, and K576 and K570 too, but I think the c-minor, K457, is an immense work. I think Mozart's piano sonatas are a great body of work, given that they never seemed to be a huge priority to him...


I second this.:tiphat:


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## Animal the Drummer

Bruckner Anton said:


> Mozart had written 13 "piano" sonatas before he obtained his own fortepiano. So his earlier sonatas probably served double duties - for both harpsichord and fortepiano, while his later sonatas shown an increased focus on the sound dynamic and contrast, which obviously favored fortepiano.
> For his earlier sonatas, K.333 is particularly attractive. We immediately sense how subtle and beautiful the melodies are.
> For his late sonatas, K.457 is noticable because of its dark and stormy character, which can also be found in various mature minor-key works of the composer. K.457 is usually pared with Fantasy K.475.
> K.576 is perhaps the most sophisticated of his piano sonatas, which is, to some extent, the best one in the set.


K333 is IMHO not at the level of its two immediate predecessors. It's certainly an enjoyable piece, but for me it doesn't quite equal the charm of K331 and the elegance and virtuosity of K332 (my personal favourite of all the sonatas).


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## SimonDekkerLinnros

Kieran said:


> I like K533/K496, and K576 and K570 too, but I think the c-minor, K457, is an immense work. I think Mozart's piano sonatas are a great body of work, given that they never seemed to be a huge priority to him...


Just listened to K457, thanks for the tip. Another great work I recently discovered was Mozart's sonata for 2 pianos.


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## dieter

SimonDekkerLinnros said:


> Just listened to K457, thanks for the tip. Another great work I recently discovered was Mozart's sonata for 2 pianos.


Most of his 2 piano works are wonderful...keep exploring them.


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## Balthazar

My top three:

No. 8 in A minor, K 310
No. 11 in A, K 331
No. 14 in C minor, K 457


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## Il_Penseroso

My favorite is no.10 K.330 in C major.


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## Kieran

SimonDekkerLinnros said:


> Just listened to K457, thanks for the tip. Another great work I recently discovered was Mozart's sonata for 2 pianos.


One (other) surety in Mozart's piano sonatas is that the slow movements are, without exception, beautiful works of art. That's especially true of K457, but it goes for all of them, really. And as Blancrocher and Isorhythm have shown, he has an immense wealth of loose, solo movements, such as K511 and K540, which both almost beg to be listened to as part of a bigger whole, and yet both of them are sufficiently large and satisfying as single standalone movements.

You're right about the sonata for two pianos, and he has a couple of beauties for 4 hands (K497 and K521)...


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## dieter

Kieran said:


> One (other) surety in Mozart's piano sonatas is that the slow movements are, without exception, beautiful works of art. That's especially true of K457, but it goes for all of them, really. And as Blancrocher and Isorhythm have shown, he has an immense wealth of loose, solo movements, such as K511 and K540, which both almost beg to be listened to as part of a bigger whole, and yet both of them are sufficiently large and satisfying as single standalone movements.
> 
> You're right about the sonata for two pianos, and he has a couple of beauties for 4 hands (K497 and K521)...


K457, 310,533,331 and the 2 Piano sonatas, k448,521, 497,381, etc etc


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## Kieran

The slow set in K533 is one of my favourite ones, from any composer. It's faltering, moody, large. That sonata could actually survive as a two-movement work, without the tack-on of K496, which isn't a bad finale...


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## Blancrocher

Kieran said:


> One (other) surety in Mozart's piano sonatas is that the slow movements are, without exception, beautiful works of art.


Agreed. And Mozart himself seems to have been noted by his contemporaries for playing his slow movements unusually slowly.

Also, though I agree with others that Mozart really catches fire in the K300s, I'd encourage listening to a range of pianists in the earlier numbers as well. For example, many great pianists have put their stamp on the early K 280, with its moving "Sicilian" theme in the slow movement.


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## millionrainbows

*Piano Sonata No 11 A major K 331*

The Fantasies are good, too.


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## Janspe

I love the minor sonatas, obviously, but I've got other favourites too: the D major K.284 (especially the variation movement, it is so good!), the F major K.332, the C major K.545, the D major K.576...

I really think that Mozart's 18 piano sonatas are very fine works, each and every one - and even though I probably prefer the sets by Haydn, Beethoven and Schubert, I return to these wonderful works all the time. They really do reward repeat listening!


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## clavichorder

isorhythm said:


> The last one, D major, hands down.


I have respect for it, but I do not have as much love for it. I love the 1st four, and perhaps feel a bit stronger yet about K 332 in F Major, K 333 in B flat major. It's also impossible for me not to adore K 331 in A major. And all the good 'middle' ones.

But one snuck up on me and it has become perhaps the most satisfying Mozart sonata to listen to of all. The counterpoint and phrasing seems more 'off balance' than the late D major one (which I perhaps have yet to hear an interpretation that I love). This would be k *533* in F major, my personal favorite.


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## clavichorder

Animal the Drummer said:


> K333 is IMHO not at the level of its two immediate predecessors. It's certainly an enjoyable piece, but for me it doesn't quite equal the charm of K331 and the elegance and virtuosity of K332 (my personal favourite of all the sonatas).


I think it has a nice synthesis of both the charm and 'elegance' of it's two predecessors. It's a bigger work actually, if I remember right.


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## realdealblues

I love all of them...tough to choose a favorite. I would need to ponder it for a while...


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## clavichorder

I also have always had a fondness for the 1st six sonatas, though I think no. 6 in D major tapers into a different style and 7 is a further step in that direction, one that he would shake up in k 310 in A minor, though I feel that from 6-9, the sonatas have much more of the 'chord tapping,' which is a technique I am less fond of, though all these pieces have their good moments(and yes, the A minor one is an undeniably great piece even with that element, as is arguably k 330). In k 330, he is well into a 'middle period' style.

You might consider no. 9 in D major or no. 7 in C major his least remarkable of the 1st ten sonatas. And yet they still have plenty to love in them.

Getting back to the 1st six in this horribly disorganized post, how can you not love his 1st piano sonata, K 279? I have trouble finding people who play it in the way that I really click with every moment of it, but the piece has that kind of a leanness to it. I just think a lot of Mozart pianists play too fast and with NOT ENOUGH BREATH in their phrases, without sacrificing rhythm. It is easier said than done, but these great technicians are short changing us by playing so quickly and unceasingly, with 'robo trills'. The best performers of these, I'd wager have had their hand at Johann Christian Bach sonatas, and other good contemporaries and predecessors, so they can really understand how these pieces shine within the style of the times. They also will have at least played on a good fortepiano once, just to see how that light action more wood like tone, makes it less work to interpret these, knowing what they need to learn to develop in their modern piano technique.

Schiff does quite well here, though it verges on a certain 'mechanical polish'. Each thing in this piece is to be treated as a live element. Nonetheless, the piece is so nice and moves along so swiftly, wittily, and innocently, that I could not help but be charmed when I first heard it. Mozart was on his game, and there is a tremendous personality and mind at work here. I actually learned this whole sonata two years ago but never had the chance to perform all three movements in one concert. :





And I have actually chosen to only provide a link to the Schiff, because I found a preferable interpretation of the whole sonata, from an older recording. One of the most charming early finales.


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## Boldertism

This is my favorite _thing_ from any of his sonatas.


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## PlaySalieri

Bruckner Anton said:


> Mozart had written 13 "piano" sonatas before he obtained his own fortepiano. So his earlier sonatas probably served double duties - for both harpsichord and fortepiano, while his later sonatas shown an increased focus on the sound dynamic and contrast, which obviously favored fortepiano.
> For his earlier sonatas, K.333 is particularly attractive. We immediately sense how subtle and beautiful the melodies are.
> For his late sonatas, K.457 is noticable because of its dark and stormy character, which can also be found in various mature minor-key works of the composer. K.457 is usually pared with Fantasy K.475.
> K.576 is perhaps the most sophisticated of his piano sonatas, which is, to some extent, the best one in the set.


K333 has been dated to contemporary with the c minor mass.


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## PlaySalieri

clavichorder said:


> I also have always had a fondness for the 1st six sonatas, though I think no. 6 in D major tapers into a different style and 7 is a further step in that direction, one that he would shake up in k 310 in A minor, though I feel that from 6-9, the sonatas have much more of the 'chord tapping,' which is a technique I am less fond of, though all these pieces have their good moments(and yes, the A minor one is an undeniably great piece even with that element, as is arguably k 330). In k 330, he is well into a 'middle period' style.
> 
> You might consider no. 9 in D major or no. 7 in C major his least remarkable of the 1st ten sonatas. And yet they still have plenty to love in them.
> 
> Getting back to the 1st six in this horribly disorganized post, how can you not love his 1st piano sonata, K 279? I have trouble finding people who play it in the way that I really click with every moment of it, but the piece has that kind of a leanness to it. I just think a lot of Mozart pianists play too fast and with NOT ENOUGH BREATH in their phrases, without sacrificing rhythm. It is easier said than done, but these great technicians are short changing us by playing so quickly and unceasingly, with 'robo trills'. The best performers of these, I'd wager have had their hand at Johann Christian Bach sonatas, and other good contemporaries and predecessors, so they can really understand how these pieces shine within the style of the times. They also will have at least played on a good fortepiano once, just to see how that light action more wood like tone, makes it less work to interpret these, knowing what they need to learn to develop in their modern piano technique.
> 
> Schiff does quite well here, though it verges on a certain 'mechanical polish'. Each thing in this piece is to be treated as a live element. Nonetheless, the piece is so nice and moves along so swiftly, wittily, and innocently, that I could not help but be charmed when I first heard it. Mozart was on his game, and there is a tremendous personality and mind at work here. I actually learned this whole sonata two years ago but never had the chance to perform all three movements in one concert. :
> 
> 
> 
> 
> 
> And I have actually chosen to only provide a link to the Schiff, because I found a preferable interpretation of the whole sonata, from an older recording. One of the most charming early finales.


agree with most of that - yes the earlier sonatas are overlooked and I agree that they are often dashed through way too quick.


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## clavichorder

You guys heard any of Malcolm Bilson's work on Mozart?


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## Chordalrock

clavichorder said:


> Getting back to the 1st six in this horribly disorganized post, how can you not love his 1st piano sonata, K 279? I have trouble finding people who play it in the way that I really click with every moment of it, but the piece has that kind of a leanness to it. I just think a lot of Mozart pianists play too fast and with NOT ENOUGH BREATH in their phrases, without sacrificing rhythm. It is easier said than done, but these great technicians are short changing us by playing so quickly and unceasingly, with 'robo trills'. The best performers of these, I'd wager have had their hand at Johann Christian Bach sonatas, and other good contemporaries and predecessors, so they can really understand how these pieces shine within the style of the times. They also will have at least played on a good fortepiano once, just to see how that light action more wood like tone, makes it less work to interpret these, knowing what they need to learn to develop in their modern piano technique.


Check out Hans Leygraf's complete set from 2010. Quite a bit slower than usual in these allegros. It's on a modern piano though so maybe not as flamboyant or joyful as it could be.


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## radiodurans

SimonDekkerLinnros said:


> What do you think is the best piano sonata by Mozart?
> Mine is the twelfth, but I haven't listened enough on his sonatas to know for sure.


Well, everyone's taste, like in wine, is different. I just listened to the complete Sonatas by one performer and jotted down a rating based on my *personal* like (no technical analysis/evaluation) scoring for each movement. I of course excluded Piano Sonata No. 19 in F major, K. 547 since it was actually a composition by Breitkopf and Hartel.

Findings about my tastes overall:

* Sonatas 10, 11, 15 received my highest overall "like" score as complete pieces. Between that 3-way tie I'd probably pick Sonata 11, because the 1st and 3rd movements are so essential to my general happiness, even though the #11 2nd movement I don't really like.

* Sonata 4 was the one (overall) I liked the least.
* As a general rule, his earlier sonatas I didn't find as good.
* I had a hard time finding 2nd movements that I liked.
* The highest rating overall to a 2nd movement I gave was to Sonata 15 (one of those exceptions to the not liking 'sonata 2nd movements' rule above).
* Of his later works, Sonata 17 was the most disappointing to me, but still ranked higher in my scoring than his earlier stuff.
* For his early sonatas, the most enjoyable movement I found was the 3rd movement of Sonata 5.
* Sonata 7 was my favorite of Sonatas 1-9.
* Broken down per sonata into tiers in my scoring -- 1st tier: [10 11 15] 2nd: [12 18] 3rd: [13 14 16] 4th: [7 8 17] 5th: [2] 6th: [5 6] 7th: [9] 8th: [1 3] 9th: [4]
* Most favorite movements: 1st tier [11-3 15-1] 2nd tier: [10-1 10-3 11-1 12-3 15-2 18-3] 
* Least favorite movements: [1-2 2-2 3-1 4-2 4-3 4-1]

This is again only measuring my subjective enjoyment on a single listening experience of a single performer (Mitsuko Uchida)


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## Mal

radiodurans said:


> This is again only measuring my subjective enjoyment on a single listening experience of a single performer (Mitsuko Uchida)


I've had Uchida's set for fifteen years but only pull it out about every five years, or so, to see if I can "get it, this time". Surely all those critics can't be wrong  So far I've just listened to the first CD of early (mature) sonatas and, for me, she jerks the music around too much - always playing far too slow, sometimes too fast, too loud, too soft, and all at the wrong moments. At the end I wanted to take it to the charity shop - but I'll listen through the whole set, things might improve... I much prefer my other set - Klien; for me, he plays Mozart in a much more straightforward & beautiful way that seems just right.

Last week I listened through all the mature violin sonatas, with Haebler on the piano, after stopping listening to Barenboim's set - again, like Uchida, his approach seems off-puttingly mannered to me, imposing (admittedly) virtuoso technique, and modernist impulses, on music that is much better played straight. It might be that one listening experience, or a few, of Uchida just isn't going to cut it. The esteemed critics have probably listened to every set several times and maybe that gives them the "training" to appreciate Uchida. Maybe Uchida and Barenboim have listened to all the classic sets by the likes of Klien and Haebler and have decided that they can't be bettered by keeping to the straightfoward approach, so impose their own ideas on the music in attempt to do something different - like modernist novelists thinking they can't better Dickens, so do something different. Might work for some, but doesn't work for me.

Anyway, radiodurans, this a long-winded way of saying "try another set".


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## Mandryka

Mal said:


> So far I've just listened to the first CD of early (mature) sonatas and, for me, she jerks the music around too much - always playing far too slow, sometimes too fast, too loud, too soft, and all at the wrong moments. At the end I wanted to take it to the charity shop - but I'll listen through the whole set, things might improve... I much prefer my other set - Klien; for me, he plays Mozart in a much more straightforward & beautiful way that seems just right.
> 
> Last week I listened through all the mature violin sonatas, with Haebler on the piano, after stopping listening to Barenboim's set - again, like Uchida, his approach seems off-puttingly mannered to me, imposing (admittedly) virtuoso technique, and modernist impulses, on music that is much better played straight. It might be that one listening experience, or a few, of Uchida just isn't going to cut it. The esteemed critics have probably listened to every set several times and maybe that gives them the "training" to appreciate Uchida. Maybe Uchida and Barenboim have listened to all the classic sets by the likes of Klien and Haebler and have decided that they can't be bettered by keeping to the straightfoward approach, so impose their own ideas on the music in attempt to do something different - like modernist novelists thinking they can't better Dickens, so do something different. Might work for some, but doesn't work for me.
> 
> Anyway, radiodurans, this a long-winded way of saying "try another set".


Uchida in concert is a little more impressive than in the studio Mozart, there's a feeling I sometimes have in the studio Mozart that it's a bit "telephoned in"

Try this, you won't like it because it's basically the same approach, but you may agree with me that there's a certain conviction which is valuable


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## radiodurans

I will admit that Uchida is the only complete set of Mozart Piano Sonatas I have currently and I wanted to be as objective as possible in comparing for my own tastes in the sonatas. By removing the performer variable, I thought I'd be increasing my chances of concentrating more on the composer than the performer. I haven't looked at my test scores since my last post so maybe Ill try to pick up another collection like Klien this weekend (thanks for the recommendation) and post my findings for my personal taste. As for Uchida as a performer, I do quite like her renditions overall, though they aren't necessarily my favorites renditions of specific pieces. Vertical comparisons were outside the scope of my analysis (eg. same sonata, different performer), but it is of course a great idea to pick up another box set. This is where Classical gets expensive as a hobby, but part of the immense joy I find. It is all part of that mystery for what makes music appealing.


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## radiodurans

Mal said:


> Anyway, radiodurans, this a long-winded way of saying "try another set".


It looks like it would be a backorder for Klien, I did see a DG collector's set by Pires though, I'm guessing this is going to be more like Uchida though than Klien . . .


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## Larkenfield

Well, Uchida can sound somewhat rushed, aggressive, and tense but I've never heard her jerk any of the Mozart sonatas around, and she uses the pedal more judiciously than others that I've heard.






Someone such as Kempff has a more relaxed lyrical approach though sometimes the textures of his sonatas can sound muddle and not as clear.






I like the warmth that Kempff brings to Mozart. It sounds more humane.


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## radiodurans

Mal said:


> "try another set".


So I picked up a set by Vlado Perlemuter today and am enjoying it thus far. A set of recordings from the 50s, sound quality isn't great, but the performance is very engaging. https://www.amazon.com/Mozart-Piano-Sonatas-VLADO-PERLEMUTER/dp/B000S6DPI0

Who prefers fortepiano or the sound of modern piano?


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## radiodurans

Mal said:


> Anyway, radiodurans, this a long-winded way of saying "try another set".


 So I've picked up 3 different sets since: Pires, Klien, and Brautigam. I may prefer all them to the Uchida recordings, actually . . . I'll need to do some blind testing, at least with the modern piano group. For technical skill Klien seems to be a master; Pires has a bright airiness in her style that I enjoy. Overall, I might have a slight preference for Brautigam, the fortepiano gives me a different perspective, especially on the earlier sonatas. In my opinion, the earlier stuff sounds much better on fortepiano than modern piano.


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## Xisten267

SimonDekkerLinnros said:


> What do you think is the best piano sonata by Mozart?
> Mine is the twelfth, but I haven't listened enough on his sonatas to know for sure.


Starting with sonata #7, K. 309, I really enjoy all of them. My current favorites are Nos. 7, 11, 12, 16, 17 and 18.

There's a poll on favorite Mozart piano sonatas here: Which are your favorite Mozart piano sonatas? (Select up to three options)


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## Mal

radiodurans said:


> So I've picked up 3 different sets since: Pires, Klien, and Brautigam. I may prefer all them to the Uchida recordings, actually . . . I'll need to do some blind testing, at least with the modern piano group. For technical skill Klien seems to be a master...


My second set was Klien and I stopped there as I liked all the performances. Might pick Uchida over Klien for some individual sonatas, but if Klien was all I had I'd be happy enough. I was so impressed I bought his complete Brahms solo piano set and was very happy with that as well. Indeed a master!


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## S Rose

My favourite First Movements are in K 279, K 281, k 309, K 331, K 333, K 545, and K 576. 
My favourite Second Movements are in K 282 and K 545
My favourite Third Movements or in K 279, K 311, K 330, K 331, and K 545

Also, my favourite keyboard sonata by Mozart not listed in the Piano Sonatas is K 19d.


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## Allegro Con Brio

I love No. 8 in A minor, No. 13 in B-flat major, No. 14 in C minor, and the last two. But the two minor-key ones are my favorites. Minor-key Mozart is the best Mozart.

Oh yeah, and the Sonata for Two Pianos in D major is excellent, too, especially on the recording with Perahia and Lupu.


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## consuono

No.18 in D, K. 576.


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## hammeredklavier

*[ 0:54 ]
[ 3:33 ]
[ 7:42 ]*


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## Roger Knox

I especially like Mozart's Piano Sonata in F major, no. 15. K. 533/K. 494. It has nice variety, including a beautiful aria for the slow movement and a cheerful, lively finale.

For two pianos I prefer the fortepiano, where the shimmer of passagework is especially attractive.


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## hawgdriver

I never liked these that much, but now I'm starting to like them. One of the first classical pieces I learned on guitar was a Mozart waltz and I felt such a communion with the composer, such a gladness.

But after I fell in love with piano, these compositions just felt a bit lacking somehow. I'd really enjoy the verve of pieces like the first mvt of K310, catchy as heck. And other random things with great melody that are instantly catchy. But overall just felt kinda bland and samey--kinda Mozart-esque in a good way but not compelling like Chopin or Schubert (to me).

As far as making it through various sonatas and listening again and then wanting to do nothing else...nyet.

Until now.

For me the breakthrough was 'forcing' myself to listen to K475 into *K457* several times.

That's my favorite. But I've barely put in a handful of listens to many of them.

I'll second the person who said

K457
K331
K310

But just today I listened to K533/494 a couple of times and it's sneaky compelling. I can't put my finger on it, but I feel like I missed something important and that particular work felt so ... friendly (?).

So my favs:

*K457
K331
K533
*
K570 is impressing me a lot lately, and I don't think I've ever heard K576 all the way through, so I look forward to that. I like the later works much more than the pre-K457 works in general. They seem more honest somehow.

I feel like I really need to listen to K332, K333, and K576 much more than I have...

But if K533, K457, and K331 in particular really appeal to me, which sonatas should I make sure to seek out first?

I'm excited about all this!

PS--I really love the standalone pieces like K475 and K397 and K540 maybe even more...what would be next on that front?


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## mossyembankment

I don't know these that well, but I will say that the second movement of K.330 is one of my favorite pieces of music - incredibly beautiful.


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## Mimi38

I have just discovered this forum, as I am listening to several versions of Mozart's piano sonatas (Gieseking, Perahia, Peres and Rich). Very interesting threads.

I think it is better to separate sonatas 1-6 from the following ones, as it is difficult to compare and classify sonatas from different periods of composition.
For me a fresh approach to these early sonatas is that of Elizabeth Rich (volume 1 of her Complete Edition of the Piano Sonatas).


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## Wigmar

Mimi38 said:


> I have just discovered this forum, as I am listening to several versions of Mozart's piano sonatas (Gieseking, Perahia, Peres and Rich). Very interesting threads.
> 
> I think it is better to separate sonatas 1-6 from the following ones, as it is difficult to compare and classify sonatas from different periods of composition.
> For me a fresh approach to these early sonatas is that of Elizabeth Rich (volume 1 of her Complete Edition of the Piano Sonatas).


I might very well listen to good interpretations of K 310, 331-3, 494/533 & 545. 
I am about to search for a complete set with Larrocha 2nd recording cycle, whereas Brendel still is my favourite interpreter


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