# Favorite Mozart piano sonatas and recordings



## clavichorder

I've been listening to K283, which is one that I'd never really heard, and my hunch that they are all really good is better confirmed. They aren't talked about very much. What are your favorite Mozart piano sonatas and who is your favorite performer. Lets dig up some that aren't as talked about. For example, I love K533 in F major, which isn't mentioned as often to my knowledge.

I like Uchida's performances and Malcolm Bilson on fortepiano, from the recordings I've heard of his.


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## hreichgott

I love this CD which includes my favorite, K. 310 in A minor, the darkest of the sonatas depending on how it is interpreted. 








(I also love K. 330 in C major which is totally different: three movements of three different kinds of joy.)


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## Vaneyes

K.309/311, w. Schiff; K.310/333, w. Pires; K.331/332, w. Gavrilov. :tiphat:


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## trazom

I'm starting to like most of them again--however, except for k.333, which is an extraordinary work, I don't care for the b-flat sonatas. I just heard the F major k.280, the second movement in f minor is so beautiful.


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## Ukko

My favorite procedure is when the pianist, or failing that the recording, plays K.475 with K.457 immediately following. In general I prefer the late sonatas to, for instance, the Paris ones. My favorite sets are those by Lili Kraus and Christoff Eschenbach. Kraus plays them with 'the conventional wisdom', very well. Eschenbach makes them _stronger_ somehow.


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## Schumann

Piano Sonata #9 In D, K 311
Piano Sonata #12 In F, K 332 
Piano Sonata #13 In B Flat, K 333

All played by Klára Würtz


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## joen_cph

- Sonata in c, no.14 K457, the only I tend to listen to regularly.

Will be checking K310 due to the mentioning here.

Among the minor piano works,
- the Fantasias in C-Major K 394, d-minor K397 & c-minor K 475
- Rondo in a K511
- Adagio in b, K540

Among the interpreters: Zacharias/MDG (http://www.amazon.com/Works-Piano-Fantasias-Rondos-Other/dp/B00004LMPR, got mixed reviews), Maria Yudina (



, 



), Würtz in K457; Samuil Feinberg (



), and some others. Walter Klien´s old recordings for Vox and Vox-Candide are also often good. Gould for a - radical - change in the Fantasias.

But have investigated the solo works less in depth than the concertos.


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## Mandryka

I like the records Arrau made when he was at the height of his powers, there's a live Mozart recital on Orfeo for example, which I think is amazing. Also a Video record on VAI with a 310.

Richter recorded all the sonatas you mentioned really well, especially in the performances which come from late n his career. Generally I think the Russian pianists have had an interesting take on Mozart. I'm thinking mainly of Gilels (there's some wonderful Mozart from him on Testament), Richter, Yudina, Sokolov (let me know if you can't find it) amd Lubimov. 

For the earlier sonatas, I've enjoyed Deszo Ranki more than anyone else, on a Hungaroton CD. And Paul Badura Skoda.


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## Kieran

I have Mitsuko playing these and I'm partial to all of them, and they all bring something different. The 8th (a-minor) and all of them from #14(c-minor) to his death are great sonatas. I think a lot of people come onto them from the main thoroughfare of Beethoven's piano sonatas, and expecting something the same, leave thinking that Wolfie's are slight in comparison. 

K576 is possibly my favourite, or K533/494, especially that distracted, disturbed slow movement...


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## Ukko

Kieran said:


> [...]
> I think a lot of people come onto them from the main thoroughfare of Beethoven's piano sonatas, and expecting something the same, leave thinking that Wolfie's are slight in comparison.
> [...]


My (incredibly astute) analysis of that tendency rests on the opinion that Mozart never fully utilized the potential provided by the dynamics available from pianos built after ~1780. _Some_ of his sonatas after that date were 'serious' enough... even without the, ah, assertiveness that Beethoven exhibited in the 1790s.


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## Kieran

Hilltroll72 said:


> My (incredibly astute) analysis of that tendency rests on the opinion that Mozart never fully utilized the potential provided by the dynamics available from pianos built after ~1780. _Some_ of his sonatas after that date were 'serious' enough... even without the, ah, assertiveness that Beethoven exhibited in the 1790s.


It could be true, Hilltroll, I never thought of that because I didn't know that pianos built after 1780 were an issue for him. I usually think it's down to his writing sonatas mainly for advanced pupils, and also, his pouring his main piano work into the PC's, which he largely performed himself.

Having said that, I think his piano sonatas are underrated and given a chance, reward the listener with their variety and brilliance...


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## Ukko

Kieran said:


> It could be true, Hilltroll, I never thought of that because I didn't know that pianos built after 1780 were an issue for him. I usually think it's down to his writing sonatas mainly for advanced pupils, and also, his pouring his main piano work into the PC's, which he largely performed himself.
> 
> Having said that, I think his piano sonatas are underrated and given a chance, reward the listener with their variety and brilliance...


His correspondence indicates that, at the time of Piano Concerto No. 9 (1779), he was unhappy with every piano he had played on. That concerto was performed (it's 2nd public performance?) by his sister on a harpsichord, successfully according to reports. Shortly before his Paris trip he reported finding ("finally") a piano he was satisfied with. Subsequent pianos may not have been "an issue for him", but he didn't stress them either.

[That concerto #9 was performed by Igor Kipnis during the LP era. The recording is worth hearing on it's aesthetic merits, but also for curiosity's sake.]


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## Mandryka

I'm not understanding this discussion really. Bezuidenhout uses tons of dynamic contrasts even in, for example, K332, which dates from the early 1780s. The way he plays it, it sounds pretty assertive. I mention him because I'd assumed that his approach was informed.


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## Ukko

Mandryka said:


> I'm not understanding this discussion really. Bezuidenhout uses tons of dynamic contrasts even in, for example, K332, which dates from the early 1780s. The way he plays it, it sounds pretty assertive. I mention him because I'd assumed that his approach was informed.


I'm not going to argue about the accuracy of your assumption. At TC such discussions easily approach the part of the map containing the words: "Here dragons dwell".


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## realdealblues

I love Mozart's Piano Sonatas more than Beethoven's. I probably have more recordings of them than I do anything else. A year or two ago I went through and compared all the complete cycles and many incomplete cycles. In the end the set I found most perfect across the board was the very hard to find Ingrid Haebler set on Denon from Japan. It was her second cycle. Her first on Philips I wasn't a fan of and it's amazing to see how she grew into these works. Still one of the most amazing sets I've heard.

Klara Wurtz does a nice job. I also like Alicia De Larrocha and Christoph Eschenbach on the whole. Schiff, Uchida and Pires I like on some and don't on others, sometimes based on phrasing others based on choice of tempo. Barenboim I can't take much of. Jando is a mixed bag. Arrau plays them completely differently than anyone else (it took me a long time to even understand what he was doing) but in the end while interesting, I don't find them to be what I feel is "correct" for lack of a better term.

I could go on and on about different recordings but those are usually the more commonly mentioned ones.

I've spent more time with Mozart's Sonatas than I can even imagine and I will never understand why they are so frequently overlooked. I find them all absolutely fascinating.


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## Mandryka

Hilltroll72 said:


> I'm not going to argue about the accuracy of your assumption. At TC such discussions easily approach the part of the map containing the words: "Here dragons dwell".


I understand completely. I think this is a real interesting area, thanks for bringing it up.


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## clavichorder

I found an amazing Kristian Zimmerman recording on youtube of K 281 in B flat: 





I thought Uchida's or Klara Wurtz were excellent, but this brings out something more vibrant and colorful. I wasn't initially that drawn to this sonata, but you can sort of find the magic in any of them with the right recording. I love that finale though, very cute.


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## maestro57

My favourite would have to be Piano Sonata No. 14 in C minor, K. 457 (coupled with and preceded by Fantasia No. 4 in C minor, K. 475).

Favourite recordings of both would be those of Mitsuko Uchida.


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## Ukko

Originally Posted by Hilltroll72
"I'm not going to argue about the accuracy of your assumption. At TC such discussions easily approach the part of the map containing the words: "Here dragons dwell"."



Mandryka said:


> I understand completely. I think this is a real interesting area, thanks for bringing it up.


Yeah, I too think it's interesting. I don't know how much is known about 'period practice' regarding 1780s pianos; I personally don't even know what dynamics markings the piano scores of sonatas by Mozart (and Haydn) contain. Such discussion calls for a new thread, started by someone who knows more about it than I do.


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## Mandryka

Hilltroll72 said:


> Originally Posted by Hilltroll72
> "I'm not going to argue about the accuracy of your assumption. At TC such discussions easily approach the part of the map containing the words: "Here dragons dwell"."
> 
> Yeah, I too think it's interesting. I don't know how much is known about 'period practice' regarding 1780s pianos; I personally don't even know what dynamics markings the piano scores of sonatas by Mozart (and Haydn) contain. Such discussion calls for a new thread, started by someone who knows more about it than I do.


Just speaking generally about piano recordings, I hope you guys have heard Robert Hill's recording on Naxos of WF Bach's Polonaises.


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## clavichorder

Mandryka said:


> Just speaking generally about piano recordings, I hope you guys have heard Robert Hill's recording on Naxos of WF Bach's Polonaises.


I have, they are interesting, but I wish there were other recordings available.


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## Mandryka

clavichorder said:


> I have, they are interesting, but I wish there were other recordings available.


It's really the piano he uses there which made me post about it, in the context of a discussion about the capabilities of early fortepianos. Robert Hills's notes for the Naxos CD about the instrument are interesting.


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## StevenOBrien

I've been listening to #1 a lot recently. I love the last movement.


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## clavichorder

This one is really nice:


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## realdealblues

clavichorder said:


> This one is really nice:


Ah, I love that Haebler set  Cost me $50 and I had to get it from Japan but it was by far one of the best purchases I ever made.


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## Skilmarilion

I love the haunting melancholy of #8 and #14.


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## clavichorder

I sort of like Gould's Mozart when he isn't playing it insanely fast, it provides fresh flavor:


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## HaydnBearstheClock

clavichorder said:


> This one is really nice:


Thanks for sharing, clavichorder.


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## clavichorder

This Gould recording of the 2nd sonata(K280 in F major) has become a favorite, even though he is a bit cheeky with his backwards arppegio in the development section, he brings so much personality to the piece, and curiously my 2nd favorite recording is by another Bach interpreter, Andras Schiff. Maybe the piece does well with the touch of a Bachian pianist. Sokolov also gives it a good go, and he's great at French Baroque in his curious way.


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## StevenOBrien

My favorite Mozart sonatas are: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 and 18.


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## kv466

One of my absolute favorite Mozart sonatas for keyboard is the kv332 in f. I can not imagine listening to it anyone other than a man who is most criticized for his Mozart, however. Yup, you guessed it. But it's true!! Anyone else just sounds like a first year piano student playing this and I'm talking so-called big names like Uchida. Anyway, if you haven't heard it by him, here it is:






A surprising performer whom I seldom like playing _anything_ is Horrorwitz, yet I really love his approach to Mozart; sonatas, at least.


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## clavichorder

^^^
See, Gould adds so much life to Mozart, when he isn't speeding too fast. This one airs on the fast side, and yes it is one of Mozart's best, that middle section of the exposition is so cool.

Thanks for the tip on Horowitz.


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## MusicInTheAir

How about Schnabel's Mozart K. 570? It's impossible for me to talk about my "favorite" Mozart piano sonatas. Only sonata I definitely wouldn't put on the list is the K. 545. How many lousy performances by kids have you heard of that piece?! I have alot of respect and love for Paul Badura Skoda's performances formerly on the Astree label. There are a couple of the mid to later sonatas I like with Brendel (K. 331 through K. 333, K475).


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## Blake

Uchida does an excellent job at pulling out the pristine and ethereal nature of Mozart.


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## Blake

kv466 said:


> One of my absolute favorite Mozart sonatas for keyboard is the kv332 in f. I can not imagine listening to it anyone other than a man who is most criticized for his Mozart, however. Yup, you guessed it. But it's true!! Anyone else just sounds like a first year piano student playing this and I'm talking so-called big names like Uchida. Anyway, if you haven't heard it by him, here it is:


That humming, haha.


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## Guest

From a purely audio stand point, Robert Silverman's on the IsoMike label (named after their proprietary microphone arrangement) is hard to beat, but it's expensive and requires a multi-channel SACD system to fully appreciate its realism:










Oh yes, his playing is good, too!


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## Mandryka

Kontrapunctus said:


> From a purely audio stand point, Robert Silverman's on the IsoMike label (named after their proprietary microphone arrangement) is hard to beat, but it's expensive and requires a multi-channel SACD system to fully appreciate its realism:
> 
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> 
> Oh yes, his playing is good, too!


Say some more about the style if you can, even if it's just at the level of fast/slow. I'm very keen on what I've heard of Robert Silverman - Beethoven mostly. So I'm tempted by that.


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## Bulldog

Vesuvius said:


> Uchida does an excellent job at pulling out the pristine and ethereal nature of Mozart.


Uchida's my favorite Mozart pianist. However, I have to say that the Gould above was very enjoyable and illuminating. Think I'll be acquiring his Mozart recordings - sounds too good to pass up.


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## Blake

Bulldog said:


> Uchida's my favorite Mozart pianist. However, I have to say that the Gould above was very enjoyable and illuminating. Think I'll be acquiring his Mozart recordings - sounds too good to pass up.


Gould's a bold character, and his talent is undeniable. I enjoy his rendition as well, but I have to be in the mood for his eccentricity.


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## Bulldog

Vesuvius said:


> Gould's a bold character, and his talent is undeniable. I enjoy his rendition as well, but I have to be in the mood for his eccentricity.


I'm always in the mood.


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## Mandryka

Gould is great fun in K331, 310, 457. In K330 there's a mono recording which I much prefer to the stereo remake which comes in the Sony box. He's much slower in the first recording of K330. Gould was clear that he too prefered the first recording, he effectively said that he chose to play it like he did in the stereo recording randomly, for no artistic reason, just to be different (it's in one of the fake mock joke interviews he published, it's somewhere in The Gould Reader)

Maybe best of all are the fantasies, K475 and above all K394. K394 may well be just Bulldog's sort of thing, because he plays the fantasy tough - pounding out the repeated octaves like a sledge hammer. There are also two very fine live sonata performances on orfeo, from Salzburg concerts.


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## Mandryka

Since all the Mozartians are assembled here I'm going to mention my latest find, this new CD from a Mozart concert Arrau gave in Tanglewood in the 1960s. I think it's by far the best Mozart I've heard from him, better even than the live Orfeo Mozart from Salzburg


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## Laraine

maestro57 said:


> My favourite would have to be Piano Sonata No. 14 in C minor, K. 457 (coupled with and preceded by Fantasia No. 4 in C minor, K. 475).
> 
> Favourite recordings of both would be those of Mitsuko Uchida.


My favourite also. I do have the Uchida recording but my favourite performance is Brautigam.


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## Laraine

realdealblues said:


> I love Mozart's Piano Sonatas more than Beethoven's.


What an interesting statement! But I suppose it's on a par with something I often say: "I'll give you all Beethoven's symphonies for one of his sonatas or string quartets."

What about Clementi? His piano sonatas are well worth trying, though I must admit I haven't worked my way through my set yet. Don't believe Mozart's description of Clementi as a "mere mechanicus". That was clearly a case of spiteful professional jealousy.


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## solkorset

What do you think about Walther Gieseking's complete rendition of Mozart's piano music?


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## starthrower

What's up with the famous K. 545 C Major sonata? Looking at different sets, some have it listed as No.15, and others as No.16.


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## Kieran

starthrower said:


> What's up with the famous K. 545 C Major sonata? Looking at different sets, some have it listed as No.15, and others as No.16.


I consider it #16 - this is where it lands chronologically, anyhow.

I'm enjoying this article here, about the piano sonatas:

http://danielbenpienaar.com/essays/Mozarts Piano Sonatas.htm


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## starthrower

You wouldn't happen to know the pianist on this recording? I like this interpretation the best. It's similar to Uchida and Larrocha, but I don't think it's them.


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## Kieran

No, I don't, actually, but it's strange that it's posted on YouTube without crediting the performer, isn't it? Very unfair. It's a good version, though...


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## starthrower

I like the darker tone and soft touch on this movement. And I've noticed that these women play that way including Klara Wurtz.


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## tdc

starthrower said:


> I like the darker tone and soft touch on this movement. And I've noticed that these women play that way including Klara Wurtz.


The set of the sonatas I recently picked up by Alicia de Larrocha is sounding great so far.

That clip above certainly seems interesting and mysterious but I can't listen to it right now as I'm working on the K 545 at the moment and I don't listen to pieces I'm working on.


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## Pugg

It sounds very muck like Uchida, try it.


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## Kjetil Heggelund

I think my favorite sonata is #13, k333 and only have Uchida's recording, but with spotify I can hear almost anything. I always have a hard time with favorites. I often listen to Schiff, Pires, Brautigam & Bezuidenhout.


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## Guest

I like this set very much. It's more idiosyncratic than Silverman's more mainstream approach, but it's fun to hear well known pieces played in a different manner.


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## CDs

Just picked up my first Mozart Sonata disc (Perahia). Hopefully it's a good one.


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## hpowders

I reallly enjoy Ronald Brautigam on fortepiano. He takes all repeats, but unfortunately does not embellish any of those repeats. Mozart would have been pissed off at his lack of improvisitorial illiteracy.


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