Who needs another recording of Mozart piano sonatas? If it's bad -- that is, if it's heavy and awkward and sentimental -- no one. But if it's good -- that is, if it's light and elegant and sublime -- anyone and everyone. Is this disc by pianist Martino Tirimo good or bad? It's good, very good. Tirimo's touch is nimble, his tone is deep, his balances are poised, his tempos are effervescent, and his interpretations walk the line between surface beauty and profound sublimity. His pairing of the C minor Fantasie, K. 475, and the C minor Sonata, K. 457, is powerfully passionate yet always objective. His pairing of the two-movement F major Sonata fragment, K. 533, and the one-movement F major Rondo Allegretto, K. 494, is entirely inevitable yet ineffably evanescent. And his concluding performance of the B flat major Sonata, K. 570, is bright, brilliant, and surprisingly affecting. Is this disc more than very good, is it, in other words, great? Maybe -- but it depends on the listener. Surely, if Tirimo's Mozart is the only Mozart one ever hears, it will give an accurate representation of the one of the great composers. However, Mozart played by Schnabel, Richter, Gilels, Lipatti, Pires, or Brendel or any of a half-dozen other pianists gives a more inspiring portrait of one of the greatest composers of all time. Recorded in 2005 in the Mendelssohn Saal in the Leipzig Gewandhaus, Regis captures Tirimo's performances in vivid yet evocative sound.
AllMusic Review by James Leonard
|Piano Sonata No. 14 in C minor, K. 457|
|Piano Sonata in F major, K. 533/494|
|Piano Sonata No. 16 in B flat major, K. 570|