Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (1756 - 1791)
The C major Sonata, K.330 is Mozart's second "Paris" sonata, composed in 1778 during Mozart's concert tour of France. Mozart's growing affinity for the key of C major is well evidenced in this sonata. He would eventually compose more sonatas (four) in C major than any key save F major. In this one both the first and last movements are in sonata form. The first movement also includes a coda, an unusual feature. Also, the development section of the first movement exhibits Mozart's increasing ability to develop multiple themes within a given movement. This compositional technique would later help define Mozart's musical style. This sonata effuses an effervescent, transparent quality and was a favorite of pianist Vladimir Horowitz near the end of his career.
The B-flat major Sonata, K.333 is the last of the famous Paris sonatas. Showing influences from Johann Christian Bach, this sonata is by far, compositionally speaking, the most complete of the Paris sonatas. We find a very mature Mozart in this piece. After opening with a conventional sonata form first movement, Mozart uses the second movement to introduce a few rather unusual harmonic progressions compared to his earlier works. The final movement, often called the "concerto without orchestra," has a classical concerto-type cadenza which is a most unusual feature in a solo piano work. While the form of the last movement is not definite, it mostly resembles a large rondo, obviously enlarged in scope and style. Although often overshadowed by its predecessors, K.331 and K.332, this sonata is representative of one of Mozart's large sonatas and amply repays the pianist who studies it.
The C major Sonata, K.279 is Mozart's earliest mature solo keyboard sonata. It is the first of six composed in 1775 in Munich for the Freiherr von Dürnitz. Even though Mozart was still primarily performing on the harpsichord, his growing familiarity with the new fortepianos is evident in his use of dynamic marks in the score. While maintaining the feel of improvisation, the first movement contains severaI clearly defined themes. The middle movement, a three-part song form, foreshadows Mozart's later mastery of maintaining a Iyrical melody throughout the movement. The final movement, also a fast tempo as in the first, shows more cohesion than the first. A rarely performed sonata, K.279, while not as structurally sound as his later works, exudes a charm and light-heartedness that many have come to characterize as "Mozart."
Never have I heard Mozart played so well. I don't think even the great
master himself played it that well. I truly hope Mr. Baham plans to
produce more CD's. It is obvious in his playing that he feels the music.
It is almost like you are sitting in the room with him as he plays.
Thanks for producing this masterpiece and please, we need more from Mr.
- Rita Adams