Piano International (Sep, 2012)
It’s hard to believe that Mozart concertos played on period instruments by small-scale ensembles could sound so dissimilar. Yet the contrasts here are fascinating, particularly the distinctive timbres of the fortepianos, though both are historically appropriate choices, and the overall sound of the ensembles, though both favour the one-player-per-part policy that recent research suggests was common practice for many Viennese orchestras in the 1780s.
Daniel Isoir plays a modern copy of a 1780 Stein, the keyboard maker Mozart praised in a well-known letter of 1777; it has the bright, clipped tones you’d expect from a fortepiano with the light action and efficient dampers Mozart admired, and it fits beautifully with La …
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