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Martino Tirimo celebrates
Mozart's 250th Anniversary -
enjoyed by

'... outstanding performances.'

Mozart in Vienna. Piano Sonatas K457, K533/494, K570, Fantasy K475. Martino Tirimo. Mozart250Tirimo. © 2005 Regis Records Ltd

Regis Records Ltd, a high quality budget label, is to be congratulated on its first release of three CDs as part of the 250th Anniversary of Mozart's birth. The venue throughout (starting in October 2005) was the Mendelssohn Saal at the Leipzig Gewandhaus, Germany.

K475 and K457 were published as a continuous entity by Mozart despite being separate works. The dynamic level and pulse from the Adagio beginning are very gradually heightened from the D major modulation through to the Allegro outburst with its G sharp trills. Note the simplicity of the pianist's phrasing in the Andantino that follows and the shifting, downward tensions -- demi-semi-quaver groupings -- that calm us before the reprise, and the coda leading to the Sonata proper. Veiled contrasts and sudden blendings of forte find their perfect balance. The Allegro molto introduction to the Sonata reveals steadiness of tempo with some subtle half-lights of rubato, and slight broadening in E major replies. Acute listeners will compare to Beethoven's forthcoming Pathétique Sonata, Op 13 in the quaver triplets. I sense Edwin Fischer's influence in the mixture of tempi and colorations that follow. The Adagio slow movement has a delightful sotto voce singing tone. Listen to the left-hand's 'prevailing' accompaniment, the Beethoven slow movement main theme appearance in the second subject and Tirimo's delectable 'dismissals' in the decorations that surround the rest. The musical line near the close is almost -- not quite -- basso profundo at its lowest peak! The Allegro assai Finale is an object lesson in rubato shaping, and maintaining the drama throughout all changes of state, right through to the emphatic close.

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Copyright © 3 October 2006 Bill Newman, Edgware, UK


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