This
is the third bite of the cherry as far as these recordings
go. They were originally issued as single discs, then as
two reduced price box sets, and now as a ‘10 CD for the price
of 4’ single box. This is a strict case of re-packaging.
The discs here are presented in easy to use sleeves, labelled
as they were for the original boxes and with the original
booklets from the two sets. Those booklets offer superbly
detailed and informative programme notes by Julius Wender.
These
recordings have been well received in the past, and cut-price
issues like this are always welcome – especially when the
presentation quality is at the high standard of the original,
i.e. not having received any form of reprocessing. Those
who bought these discs at full price all those years ago
may rend their garments in distress at seeing such cut price
re-marketing, but repeat customers can at least comfort themselves
that another gorgeous reasonably-priced gift option has become
available.
Brautigam’s
performances are proof that the fortepiano has come of age
in terms of acceptability, not only in terms of academic
authenticity, but also as an attractive and listenable alternative
to modern instrument recordings. The ear rapidly adjusts
to the piano sound, which is rich and sonorous, and as lyrical
and expressive as any recording I can name, modern or early – especially
in the pleasantly resonant church acoustic. The range is
the same as that of a modern instrument – one might argue
that the scale is smaller, but in fact I would suggest
that, on the evidence of this set alone, the (this) fortepiano
has as much if not more to offer in terms of colour and dynamics.
A modern grand of course has more sustaining power and greater
trouser-flapping bass and volume in terms of decibels, but
that’s not what Mozart is about. Whatever the arguments,
Paul McNulty’s 1993 instrument based on that of a 1795 instrument
by Anton Gabriel Walter is as much the star of this show
as Brautigam.
A
number of box sets of the Mozart sonatas have passed my way,
and with Uchida and Schiff having been at the top of the
heap for a while, I think one or two comparisons might be
in order. Taking K333 almost at random I find myself taking
to Brautigam’s phrasing immediately. The opening should sound
like the sweet breath of fresh air which comes in on opening
the window on a sunny spring morning. I get all of that with
the fortepiano texture rolling underneath that deceptively
simple melody. I once had a completely mad composition student
who was determined to write piano sonatas in the style of
Mozart. This is of course a laudable study exercise, but
he really meant it, saying that it was ‘a shame’ that Mozart
was dead, and that as a result there would be no more Mozart
sonatas. In a misguided attempt to help out I worked together
with this strange person on the project for a few weeks.
In the end I think I learned more than he did, finally discovering
the sheer genius of Mozart from the bottom up and the inside
out – realising the hard way how impossible it is to manufacture
new Mozart sonatas.
Back
to K333, and Uchida’s lightness of touch is entirely complimentary
to the music. It may seem a bit perverse to put a modern
piano version up against the fortepiano, but to me this is
entirely the point. You probably won’t admit it in public,
but you may at times have found yourself becoming a little
bored by Mozart’s sonatas. On the evidence here this may
well have to do with modern instruments. Like all great music
it demands attention when well played, and serves badly as
background muzak. In trying to analyse why I now prefer the
fortepiano to Uchida’s performance I think the answer lies
partly in the attack of the notes. The ‘ping’ at the front
of the note is an important factor in how that note will
sound or be perceived to sound. I’m prepared to be shot down
in flames, but lighter, harder hammers on a fortepiano seem
to me to intrude less into the overall texture of the music.
There is so much going on in the opening of K457 (for instance)
that returning to the fortepiano makes Uchida’s recording
seem like quite a bumpy ride in places.
This
plays out somewhat differently in the subsequent Adagio. Surprisingly,
the sustaining qualities of this fortepiano are not dissimilar
to the modern grand, but show how hard a true legato is to
achieve without the modern action, especially in those descending
thirds.
The
drama of the music takes on a colour and nuance all of its
own with the fortepiano. Mozart knew only this kind of instrument,
and you can hear how he makes use of the thrilling darkness
of the lower range to create special effects and moods. So
many factors are involved here – lower string tension on
a wooden rather than a metal frame make a big difference
of course: the sheer contrast in sound-world between low
and high on a fortepiano is so different to that on a modern
grand, whose maker’s aims have long been consistency throughout.
I love Uchida’s playing, but plunging those depths on a Steinway
is hardly the same as on McNulty’s Walter – the notes are
there, but the impact of all that gripping, other-worldly
sonority just ain’t. To be sure, if Mozart were alive today
he would certainly have written for the modern grand, but
he wouldn’t have written the same music.
With
exactly the same location, recording team and technical set-up,
the Variations collection is entirely consistent in sound
to the Sonatas, which were recorded just a year earlier.
A 4 CD set of piano variations may seem a bit daunting, but
when, just for starters, you hear what Mozart makes of ‘Twinkle
twinkle Little Star ’ (‘Ah, vous dirai-je Maman’)
you will, I sincerely hope, be hooked for life.
I
recommend this superb box to anyone looking for a set of
Mozart sonatas without even entering into the ancient and
modern instrument debate. Look at it this way – 10 CDs for
the price of 4 means you will be buying the Variations, and
getting the Sonatas thrown in for free: and that in Mozart
year, yippee! If this is not a bargain then I throw in the
towel - the penny is well spent that saves a groat ...
Dominy Clements
see also review of Variations set
by Christopher Howell
and Sonatas set
by Simon Foster
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Ronald Brautigam
(fortepiano) 
