Let’s only think about the manner of playing Vivaldi 50 years ago and the enormous revolution brought to this field by groups like Il giardino armonico or many others.ĭespite the great capacity of Ms. The idea is fascinating and, in good hands, would undoubtedly bring significant enrichment to the somehow oldish way of interpretation as we know it now. While widely used in French baroque music, this technique was already on the decline during Mozart’s times. She mentions the well-known method of flourishing the “skeleton” of the written score, which was intended as a general instruction to the interpreter, by which every keyboard player should reinvent the piece, ready never to play the same notes. The first step, in this case, is a detailed analysis of the booklet and the purposes as explained by the pianist. Most of the long booklet text, in the form of an interview with Andrew Steward, tries to explain to the potential buyer or listener why this version should be different from the many already existing versions from pianists of practically every continent, age, or provenience. Indeed, this is a difficult task, as practically everybody has tried to do the same in the past, so she has to enter into the dangerous ring fulfilled by names like Dinu Lipatti, Alfred Brendel, Vladimir Ashkenazy, or Vladimir Horowitz. In this newest installation from Canary Classics, pianist Orli Shaham continues her journey through all the Mozart piano sonatas.
MOZART: Piano Sonata in G Major, No.5, K.283
MOZART: Piano Sonata in E-flat Major, No.4, K.282 MOZART: Piano Sonata in C Major, “für Anfänger”, No.16, K.545 MOZART: Piano Sonata in D Major, No.18, K.576 MOZART: Piano Sonata in F Major, No.12, K.332 MOZART: Piano Sonata in A Minor, No.9, K.310
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