مالکوم بیلسون – پیانو سونات کامل موتزارت (Malcolm Bilson – Mozart)

Artist: Malcolm Bilson
Title: Mozart: Piano Sonatas Complete
Year Of Release: 2006
Label: Hungaroton
Genre: Classical
Total Time: 6:02:22

Tracklist:

CD 01:
Sonata No. 8 in D major K. 311 (284c)
01. I. Allegro con spirito
02. II. Andante con espressione
03. III. Rondeau. Allegro

Sonata No. 5 in G major K. 283 (189h)
04. I. Allegro
05. II. Andante
06. III. Presto

Sonata No. 3 in B flat major K. 281 (189f)
07. I. Allegro
08. II. Andante amoroso
09. III. Rondeau. Allegro

CD 02:
Sonata No. 11 in A major K. 331 (300i)
01. I. Tema (con variazioni). Andante grazioso
02. II. Manuetto
03. III. Alla Turca. Allegretto

Sonata No. 2 in F major K. 280 (189e)
04. I. Allegro assai
05. II. Adagio
06. III. Presto

Sonata No. 10 in C major K. 330 (300h)
07. I. Allegro moderato
08. II. Andante cantabile
09. III. Allegretto

CD 03:
Sonata No. 6 in D major K. 284 (205b) ‘Durnitz’
01. I. Allegro
02. II. Rondeau on Plonaise. Andante
03. III. Thema mit zwolf Variationen

Sonata No. 9 in A minor K. 310 (300d)
04. I. Allegro maestoso
05. II. Andante cantabile con espressione
06. III. Presto

Sonata No. 12 in F major K. 332 (300k)
07. I. Allegro
08. II. Adagio
09. III. Allegro assai

CD 04:
Sonata No. 17 in B flat major K. 570
01. I. Allagro
02. II. Adagio
03. III. Allegretto

Sonata No. 18 in D major K. 576
04. I. Allegro
05. II. Adagio
06. III. Allegretto

Sonata No. 13 in B flat major K. 333 (315c) ‘Linz’
07. I. Allegro
08. II. Andante cantabile
09. III. Allegretto grazioso

CD 05:
Sonata No. 1 in C major K. 279 (189d)
01. I. Allegro
02. II. Andante
03. III. Allegro

Sonata No. 4 in E flat major K. 282 (189g)
04. I. Adagio
05. II. Menuetto I, Menuetto II
06. III. Allegro

Sonata No. 7 in C major K. 309 (284b) ‘Cannabich’
07. I. Allegro con spirito
08. II. Andante un poco adagio
09. III. Rondeau. Allegretto grazioso

CD 06:
Sonata No. 14b in C mnor K. 457
01. Fantasia No. 14a in C minor K. 475
02. I. Molto allegro
03. II. Adagio
04. III. Allegro assai

Sonata No. 15 in F major K. 533K. 494
05. I. Allegro
06. II. Andante
07. III. Rondo. Allegretto

Sonata No. 16 in C major K. 545
08. I. Allegro
09. II. Andante
10. III. Rondo. Allegretto

Recorded between 1988 and 1990, Malcolm Bilson's performances of Mozart's piano sonatas come from the heroic age of historically informed performance practice. Those were the years following the earlier age of discovery, the age when the music of Bach, Vivaldi, and Handel was reclaimed by flat necked violinists, wooden bodied flutists, and pluck stringed harpsichordists, the brave new age when the music of Mozart, Haydn, and Beethoven was reclaimed by catgut string players, cowhide timpanists, and fortepianist keyboard players. Leader of the British scholars-turned-fortepianists, Bilson was determined to re-take Mozart's keyboard works from the legions of modern piano players. He aimed to accomplish this with a two-pronged attack: a complete set of all the piano concertos for Archiv and a complete set of all the piano sonatas for Hungaroton. Of the two sets, the concertos enjoyed the greater success at the time, but it was the sonatas that ultimately proved in the long run to be more persuasive. Alone without an orchestra, Bilson's bright tone, brilliant technique, and poised interpretations revealed beauties and profundities in the works that had hitherto been lost in the mass and weight of the modern concert grand. While modern players continued to record the sonatas, it was Bilson's heroic efforts that made the works safe once again for fortepianists.

The years 1988 through 1990 were also the heroic age of digital recording, the years following the age of experimentation when the then-new recording technology was rapidly overtaking the old technology and vast sums of money were being spent re-recording the standard repertoire. Among the biggest beneficiaries of the new technology were companies like Hungaroton, which had heretofore been plagued by inferior vinyl pressings. Not only did it now have clean sound, but it also had the silent surfaces of CDs in which to preserve the sound. Thus, Bilson's performances were not only faithfully reproduced, they were protected from the indignities that vinyl was heir to.