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Beethoven: Cello Sonatas Vol 1 - Op 102 & 69 / Onczay, Jandó
Naxos Nov 1991
CD
$19.99

C.P.E. Bach: Sonatas for Keyboard & Violin / Podger, Bezuidenhout

Channel Classics

SACD

$23.99 Apr 28, 2023

The Baroque dream team of Rachel Podger and Kristian Bezuidenhout interpret the astonishing music of C.P.E. Bach’s Violin Sonatas in C Minor, B Minor, D Major and G Minor. The two early sonatas here from the 1730s resemble the older style of his father. Listening to these works, you can imagine J.S. Bach glancing over Emanuel's shoulders while he wrote them as a teenager at home in Leipzig. The later sonatas, written 30 to 50 years later, reveal an emancipated composer whose developed musical language embodies the 'Empfindsamer Stil', the directly emotional and rhetorical style characteristic of northern-german music of the time.

Rachel Podger writes: “It was wonderful to delve into the specific musical world that belongs to C.P.E. Bach for this recording with Kris. These violin sonatas are (quite unfortunately!) largely overshadowed by the classical Viennese sonatas of Mozart and Beethoven. Part of his genius is that he is full of surprises and unpredictable turns, and this was hugely enjoyable for me during the musical partnership with the wonderful Kristian Bezuidenhout.”

REVIEWS:

Rachel Podger and Kristian Bezuidenhout are performers of the highest level of technical polish, and I am especially impressed by Bezuidenhout’s imaginative and assertive pianism. Podger’s violin was built by the Genoese maker Antonio Pazarini (Pesarinius) in 1739. Excellent sound from Channel as usual.

-- American Record Guide

Across the later sonatas Kristian Bezuidenhout and Rachel Podger savor the qualities of coaxing, pleading, playfulness, and arresting quirkiness that signal their identification with the so-called Empfindsamer Stil. But nothing is ever cut and dried. The keyboard opening of the B minor Sonata, composed some three decades after its G minor cousin, sounds like a throwback to the teenage work. And, rich in Empfindsamer fingerprints, the Arioso with five variations proves to be a 1780 respray of an earlier work.

At one level, Bezuidenhout and Podger help to pinpoint the chronology, allotting a handsome-sounding copy of an 1805 Walther fortepiano to the later works and a Taskin-inspired harpsichord to the products of the 1730s. It’s just one example of the thoughtfulness with which they approach a set of performances that are as equally persuasive in the bustling, youthful incisiveness of the G minor and D major Sonatas, as in the pristinely-paced, probingly expressive whimsy of the Arioso. Their music-making is infectiously spontaneous yet tellingly ‘considered’ – seamless rapport and impeccably-judged articulation delighting in a stream of illuminating felicities. CPE Bach’s free-spirited sonatas have surely found their free-spirited match.

-- BBC Music Magazine

This is how it’s done, my friends. A completely scrumptious new release from the queen of the Baroque violin, Rachel Podger. In partnership with keyboardist Kristian Bezuidenhout, Rachel gives to us a bit over an hour of completely entrancing music by the often underestimated Carl Philipp Emanuel Bach (1714–1788), fifth child and second surviving son of Johann Sebastian Bach.

There should be nothing underestimated about these keyboard and violin sonatas. They are imaginative, innovative, sublime. Add to this the impeccable performances, with that breath of life Rachel delivers so well in all of her performances, the excellent partnership with Kristian Bezuidenhout, and the utterly delightful recording quality from Jared Sacks, and one has an album to savor again and again. It is a must listen recording.

There is pure joy in Podger's performances, one feels her connection with music, the composer, and her audience. Kristian Bezuidenhout is her perfect partner in these works, As with Podger, his playing is not tied to a metronome. He plays, as does she, with a degree of improvisational exploration that makes these works far more interesting than in many other hands.

Listening to them together, one feels their connection in this music. I was particularly struck by this in their excellent performance of the Sonata in C minor which fairly danced with barely contained energy in the final Presto movement – their timing together is exquisite.

The shift from harpsichord to fortepiano and back again adds great interest to the recital. With the change in instruments, the texture of the sound changes. The balance of the violin and the keyboard shifts. Hard to accomplish in a live performance, but a delightful gift across the breadth of this recording.

-- Paul Rushton of Positive Feedback

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C.P.E. Bach: Sonatas for Keyboard & Violin / Podger, Bezuidenhout
Channel Classics Apr 2023
SACD
$23.99

Krenek, Vol. 1: George Washington Variations, Sonata No. 4; Schubert/Krenek: Reliquie

Toccata

$10.49 ~~$20.99~~ Save 50% Jul 10, 2015

The other three pieces have all received previous recordings but that doesn’t lessen the interest when they are presented as persuasively as they are here by Stanislav Khristenko. The Piano Sonata No.4 dates from 1948 and is a four-movement work of powerfully contained expression. The conjunction, in the slow movement, of both extrovert and more interior gestures is amplified by Krenek’s precise application of sonorous incident – brief but telling – amidst a generally refined tonal color. Marked con passione this is the work’s core but the Rondo offers a rather whimsical example of Krenek’s sort-of modified Boogie patterns with the Jazz references powerfully engaged. His ear for the vernacular was, after all, long practiced. The finale is a Minuet, perhaps surprisingly – perhaps that’s the point – and its variations, one or two a touch crepuscular, or withdrawn, mark a telling way to end the sonata.

The George Washington Variations, Op.120 followed two years later, the result of a commission from a wealthy Los Angeles businessman for his daughter. This genial and clever set of variations takes in the ballroom and subjects its material to deconstruction and reconstruction, as the notes suggest, with much playfulness. Washington’s Grand March is a central focus, and subject to pithy and witty examples of lightly applied atonalism, jazz-hinting rhythms and much more. Playfully ironic in places it in no way outstays its thirteen-minute length. The brief two-minute Prelude packs quite a punch for so short a piece. As Peter Tregear notes in his excellent booklet, the application of twelve-tone is accomplished here with the utmost of lyricism.

The final piece is Krenek’s completion of Schubert’s Sonata in C major, D840, which he wrote in 1921, just less than a century after Schubert had left it a torso. The first two movements had been completed as had the trio of the Menuetto and the first 272 bars of the finale. It was the pianist Eduard Erdmann, a prominent musician then and later, who encouraged Krenek to take Schubert more seriously. In time he came to understand and share Erdmann’s enthusiasm and undertook a study of the composer’s work. His completion of the sonata is a valuable sidelight to his interests at the time and also of his application of compositional process. As Krenek wrote: ‘in both unfinished movements the thematic material was completely established…so Schubert was [not] still composing by proxy, as it were, but I had only to use my knowledge of, and feeling form Schubert’s style and technique in order to supply what he might have done. I think I did a fairly creditable job.’ He noted that the finale might have been longer had Schubert actually gone through with it.

Given the quality of this inaugural volume we can look forward to the second volume with confidence.

– MusicWeb International (Jonathan Woolf)

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Krenek, Vol. 1: George Washington Variations, Sonata No. 4; Schubert/Krenek: Reliquie
Toccata Jul 2015
CD
~~$20.99~~ $10.49

Prokofiev: Piano Sonatas, Vol. 2 - Sonatas Nos. 9 & 10; Sonatinas Nos. 1 & 2; Cello Sonatas

SOMM Recordings

$20.99 Aug 01, 2014

Pianist Sviatoslav Richter and cellist Mstislav Rostropovich were among Prokofiev's friends during the last years of his life. They inspired the composer to continue his work and he, in turn, dedicated his 1947 Ninth Piano Sonata to Richter. For Rostropovich he wrote an amazing group of late works, among which was the Sonata for Cello and Piano. Both the Ninth Piano Sonata and the C Major Cello Sonata are considered masterpieces, finding Prokofiev at the height of his powers. The two Sonatinas, Op. 54 are delightful miniature Sonatas, each lasting less than 10 minutes. The two illustrious artists featured on this disc, Donohoe and Wallfisch, partner each other affectionately and in perfect harmony in this recording.

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Prokofiev: Piano Sonatas, Vol. 2 - Sonatas Nos. 9 & 10; Sonatinas Nos. 1 & 2; Cello Sonatas
SOMM Recordings Aug 2014
CD
$20.99

Galuppi: Keyboard Sonatas No 1 / Matteo Napoli

Naxos

$19.99 Feb 22, 2011

Galuppi is an original and Napoli's performance makes this a good choice for connoisseurs of 18th century keyboard music.

Galuppi is an original and Napoli's performance makes this a good choice for connoisseurs of 18th century keyboard music.

Though Baldassare Galuppi is rightly famed for his huge contribution to opera buffa, he was also a prolific and popular composer of keyboard music, particularly sonatas. When British pianist Peter Seivewright released on the Divine Art label a programme of Galuppi's keyboard sonatas in 1999 it was the first volume in a projected complete set running to ten discs and 90 sonatas. So far, and possibly because of ill health (see footnote), Seivewright appears to have got no further than volume 3 but in the last decade more sonatas have been unearthed, and there are now known to be over 130. This is the first Naxos CD devoted to Galuppi's music, and volume 1 of his keyboard sonatas. Volume 2 has not yet been released on CD, but is available as a download.

One immediate question about this recording - major or minor, depending on individual sensitivities - is the choice of a modern pianoforte (Steinway D). There will doubtless be many who feel that Galuppi's sonatas belong on a period instrument - whether harpsichord or fortepiano. The sonorities, slender textures and delicate ornamentations of his alternately late-Baroque and forward-looking pre-Galant music are sometimes partially lost in the lush, deep sound of Napoli's piano. Nevertheless, within these self-imposed limitations, Napoli's performance here is creditable - plenty of sensitivity, no misplaced showmanship.

There is no question, however, about Galuppi's masterly, mellifluous musicianship. Sonata after sonata is packed with beautiful melody and fluent invention, and it comes as no surprise that it was not only his opera music that was in great demand. But though Galuppi was himself a keyboard virtuoso, this is idiomatic music written with an eye on, or an ear to, the amateur player - it is varied, beautiful and rewarding, without being technically overwhelming.

Often the music is quite reminiscent of Domenico Scarlatti - the outer movements of the superbly imaginative Sonata in D, for example (incidentally incorrectly catalogued by Hedda Illy in E), or the ebullient two-and-a-half minute, one-movement Sonata in C, Illy 98. There are also reverberations of C.P.E. Bach, as in the refined Sonata in F and the thoughtful Sonata in F minor, and even of J.S. Bach, as in the Sonata in G.

But Galuppi is an original, without doubt, and Napoli's performance makes this altogether a good choice for connoisseurs of 18th century keyboard music, particularly those for whom the idiosyncratic colour of the harpsichord or fortepiano holds little attraction.

Sound quality is generally high, although the Sonata in C, Illy 57 does have a couple of minor imperfections that sound suspiciously like edit joins.

-- Byzantion, MusicWeb International Footnote The reviewer refers to Peter Seivewright’s ongoing series having halted at volume 3 ‘possibly due to ill health’. I want to point out for the benefit of potential customers (and the music industry) that Peter is very well indeed – he did in fact undergo surgery not too long ago but is doing very well; his projects (which include several CDs of Bach, a Reger disc and a series of American Piano Sonatas, have also been held up due to his work commitments – he moved from Scotland to help set up and manage the new Department of Music at the University of Trinidad and Tobago. His fourth volume of Galuppi has been recorded and will appear in due course, hopefully with the other projected volumes to follow a little more quickly than heretofore. Stephen Sutton (Divine Art)

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Galuppi: Keyboard Sonatas No 1 / Matteo Napoli
Naxos Feb 2011
CD
$19.99

Boismortier: 6 Sonatas for 2 Pardessus de viole, Op. 63

First Hand Records

$21.99 Jul 04, 2025

This abum contains the premiere recording of 6 Sonatas, Op. 63, originally published in 1737 (edition published by Atelier Philidor in 2021). The compositions are exquisite and expressive and have not been heard since the mid- 18th century since the engraved score has only recently been discovered. They are quintessentially French in their general musical style, making extensive use of prescribed ornamentation. The pardessus de viole enjoyed a considerable vogue in France towards the middle of the 18th century. For too long the pardessus de viole, which has an almost indentical range to the violin, has been commonly regarded - even without being heard - as a kind of toy instrument. Now we know otherwise after experiencing how similar, except for it's different register, the pardessus instrument is to all the other members of it's family, including the familiar bass viol. The recent discovery of Boismortier's Op. 63 for two 6-string pardessus de viole is an exciting and important find and FHR are very happy to publish the first recording.

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Boismortier: 6 Sonatas for 2 Pardessus de viole, Op. 63
First Hand Records Jul 2025
CD
$21.99

Haydn: The Complete Piano Sonatas, Vol. 10 / Bavouzet

Chandos

$21.99 Mar 04, 2022

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

His multi-award-winning recordings and dazzling concert performances have long established Jean-Efflam Bavouzet as one of the most outstanding pianists of his generation. This latest album – the tenth – in his cycle of the complete Haydn sonatas is built around the Grand Sonata in C major, Hob. XVI: 50, a late work the first movement of which is one of the most highly developed that Haydn ever conceived for the keyboard. Bavouzet has surrounded this with less well-known works: Two very early sonatas (Nos. 3 & 4) provide a stark contrast to the later works (Nos. 28 & 45). The album ends with the Arietta con 12 Variazioni.

Bavouzet notes: ‘The Variations in E flat major and the Sonata in A major, Hob. XVI: 30, were for me the marvelous revelations of this program. In the E flat major Variations (the lovely theme of which Mozart borrowed in his Sonata, KV 282!). The chief question was to know whether to repeat the theme at the end, as certain editions recommend. After several experiments, I finally opted for a solution perhaps a little anachronistic, by construing the entire last variation as a long, gradual crescendo which takes us from the somber and serious atmosphere of the preceding variation towards the brilliant light of the unadorned chords that conclude this magnificent cycle.’

REVIEW:

There’s one masterpiece on this CD: Sonata 60. From Jean-Efflam Bavouzet comes an almost furtively soft beginning to the first theme, a pondering pause, then loud arpeggiated affirmation, jubilation unleashed as ideas crowd in on one another and repeat gleefully. Second prize on this CD goes to Sonata 45, composed 20 years earlier, Haydn’s only piano sonata played without a break. As in previous volumes, Bavouzet mixes sonatas from various periods, backtracking 14 years earlier for Sonatas 3 and 4. So you experience the learning curve through which Haydn achieved his mature works. In Sonata 3, despite its relative simplicity, Bavouzet brings elegance and chipper, assertive bounce to the opening Allegro and you’ll relish his extra ornamentation in the repeat of the Scherzo’s final strain. In Sonata 4 his neatness and propriety in the opening movement is delightfully offset by the impropriety of repeats’ extra ornamentation[.]

--MusicWeb International (Michael Greenhalgh)

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Haydn: The Complete Piano Sonatas, Vol. 10 / Bavouzet
Chandos Mar 2022
CD
$21.99

Avison: Sonatas Op 1 & Op 8 / Avison Ensemble

Divine Art

$27.99 Feb 01, 2009

Unfailingly enjoyable music, performance and recording.

The Avison Ensemble continue to do proud the composer whose name they bear. Having recorded his Opp. 3 and 4 (Naxos 8.557905-6 – see review) and Op.6 Concertos (Naxos 8.557553-4 – see Jonathan Woolf’s review and Johan van Veen’s review), Concerti after Geminiani (Divine Art DDA21210 – see review), the Op.9 and Op.10 Concerti Grossi (DDA21211) and his Concerti Grossi after D Scarlatti (DDA21213), they now turn their attention to the Op.1 Trio Sonatas and the Op.8 Keyboard Sonatas with accompaniments. I’m on record as offering high praise to DDA21211 – see review – and DDA21213 – see review – and Jonathan Woolf was also lavish in his praise for DDA21213 – see review.

The works on the new set may not reach quite the heights of the Concertos after Geminiani and Scarlatti – go for those two sets first – but they are by no means negligible: unfailingly tuneful and well-constructed. The Op.1 pieces may well have had their origin as exercises when Avison was being tutored by Geminiani; if so, they are the work of a very competent and inspired pupil, by no means a slavish imitator of his mentor. Even when he adapted the keyboard works of Geminiani and Scarlatti, Avison did much more than merely orchestrate their music, just as Geminiani had done in orchestrating the music of his own mentor, Corelli.

The Op.1 Sonatas are advertised on their title page (reproduced in the well-documented Divine Art booklet) as ‘for two violins and a bass’. This makes them, in effect, Trio Sonatas in the manner of Corelli – indeed, they all follow the four-movement pattern of Corelli’s Sonate da chiesa, slow-fast-slow-fast, though it is unlikely that they were intended for church performance. The ‘bass’ is performed here on the cello and chest organ, making for a very full sound. I’m on record as preferring the cleaner sound of violin and harpsichord, without cello, in Corelli’s Op.5 Sonatas (Naxos 8.557799 – see review) but the fuller sound works well in Avison’s Op.1, making the music sound much closer to the Concerti Grossi on the Ensemble’s other recordings.

The Op.1 Sonatas are in a form transmitted from Corelli via Geminiani. By the date of the Op.8 Sonatas, however, the music of Rameau was becoming influential in England and Avison specifically mentions ‘Scarlatti, Rameau and Carlo-Bach’ (i.e. CPE Bach) alongside Geminiani in his ‘Advertisement’ for the set. The notes in the booklet very reasonably speculate that Avison knew Rameau’s Pièces de clavecin en concerts: he certainly praises the French composer for his ‘spirited Science’. Once again, however, whatever the degree of Rameau’s influence, Avison is no slavish imitator. I hear the influence of Scarlatti and, perhaps, even a foretaste of Boccherini in Sonata No.3 (trs.6-7).

The title page of Op.8 (again, reproduced in the booklet) described the works as ‘for the harpsichord with accompanyments for two violins and a violoncello’ and he specified that the string parts ‘being intended for Assistants only ... ought no where to overpower the Harpsichord.’ This brings me to my one reservation concerning the new recording. Whatever Avison’s intentions – reinforced by the fact that the harpsichord part is capable of being performed alone – the ‘Assistant’ strings do sometimes prove intrusive on the recording. This may well be an inherent problem in the music itself rather than one to be laid at the door of the performers or the engineers. Without suggesting that multi-miking or other trickery should have been employed, I should have thought it possible for the harpsichord part to be brought out more fully on a recording.

It’s a minor criticism and it didn’t spoil my enjoyment unduly. Otherwise I have nothing but praise for everything on these CDs. Music, performance and recording – preferably with a slight volume reduction from your normal setting – all contribute to a most enjoyable experience and the booklet is a model of its kind. As on the earlier recordings, there are no rough edges to the sound of the period instruments employed; this is early music without tears. I look forward now to the appearance of the Op.5 and Op.7 sonatas.

-- Brian Wilson, ClassicsToday.com

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Avison: Sonatas Op 1 & Op 8 / Avison Ensemble
Divine Art Feb 2009
CD
$27.99

Six Sonatas For Violin
Naxos Nov 2016
CD
$19.99

Scott: Piano Sonata No. 1, Op. 66

Lyrita

$16.99 Apr 05, 2024

Cyril Meir Scott is one of a group of British composers to have benefitted from three cultural features of recent decades: increased curiosity from performers and listeners, a more inclusive outlook from musicologists and critics, and the music industry spotting a gap and a demand. A much more colourful picture of British music in the first half of the twentieth century has resulted. Scott was a prolific writer of fiction and non-fiction as well as a composer of several hundred pieces. His writings and music are deeply invested in mysticism and the occult. This element in Scott’s work, as Sarah Collins has noted, helps us to see beyond received notions of Scott as either a trivial exoticist or an unjustly-neglected pioneer, and to appreciate his music on its own terms. © Brian A. Inglis

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Scott: Piano Sonata No. 1, Op. 66
Lyrita Apr 2024
CD
$16.99

15TH INTERNATIONAL FREDERICK C
DUX Jan 2006
CD
$139.99

Beethoven: Piano Sonatas Op 10, No 1, 2 & 3 / Mari Kodama

PENTATONE

SACD

$16.99 ~~$21.99~~ Save 20% Mar 29, 2011

BEETHOVEN Piano Sonatas , op. 10/1–3 • Mari Kodama (pn) • PENTATONE 5186 377 (SACD: 59:20)

This is the latest installment of a cycle-in-progress (though new to me) by Mari Kodama, a Japanese student of Nikolayeva and Brendel. Her playing is impressive in its refinement and control, if occasionally a little predictable. The three op. 10s make for a satisfying program, though they’re curiously presented in reverse order here (Beethoven’s own is more logical, with the biggest, most ambitious work placed last).

No. 1 in C Minor goes well, with few surprises. Kodama generally lets the outer movements speak for themselves—straight, incisive, dramatic, forceful, with effective lyrical contrasts. Tension is well maintained, with a convincing sense of real performance (vs. a recording-studio run-through). The Adagio is straightforward, perhaps to a fault—here I miss the imaginative flexibility and expressive depths others bring to the music (e.g., Schiff/ECM, Lewis/Harmonia Mundi, or the recently reviewed Ohlsson/Bridge and Ehlen/Azica). The recorded sound of her Steinway is rich, resonant, and close, but a little “plummy” for my taste, with a pronounced resonant overhang. Her playing is certainly not over-pedaled, but a real staccato articulation is in short supply.

This is a bigger drawback in the first movement of No. 2 in F where, for all the poise and polish, Beethoven’s numerous injunctions to very short articulations (e.g., at the beginning, bars 38 ff., and 47 ff.) are rarely effectively realized. The development has a slightly stolid feel (the second repeat is observed). The F-Minor Allegretto is taken slowly, to rather dour effect, with (for my taste) an insufficient variety of texture and attack; the Presto finale is kept well under control at a moderate tempo. In the last resort, I find this all a little too uneventful.

The big D Major receives the most consistently satisfying performance of the three. The opening Presto is richly varied, supple and sinuous, with an exciting surging momentum. The Largo e mesto is all dark, glinting marble, and in this instance the finale finds her relishing the music’s wide-ranging phrase and textural discontinuities.

So, a slightly mixed bag. But there’s much playing of real distinction here, and anyone wanting a high-quality version of the three op. 10s in state-of-the-art sound won’t go wrong. For the general collector, perhaps not a first choice (see alternatives mentioned above), but I’ll be keeping this in my collection, and can see returning to the first and third sonatas.

FANFARE: Boyd Pomeroy

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

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Beethoven: Piano Sonatas Op 10, No 1, 2 & 3 / Mari Kodama
PENTATONE Mar 2011
SACD
~~$21.99~~ $16.99

SCHUMANN, R.: Davidsbundlertanze, Op. 6 / Piano Sonata No. 1
Analekta Aug 2008
CD
$20.99

Schubert: Fantasie in F minor - Sonata in C major / Farmer, Callaghan

Nimbus

$20.99 Jan 07, 2022

The late eighteenth century witnessed an explosion in the number of works written for multiple pianists, most of them for two players using one instrument. The majority were predestined for the domestic market, social gatherings or for pedagogical purposes, but some, including the two works featured on this album, were intended for performance beyond the salon and ventured into the realms of virtuosity. The genre was to blossom further as a pedagogical tool by which generations of pianists became acquainted with the larger-scale, mainstream repertoire via transcriptions and arrangements of symphonies and other orchestral works, operas and chamber music.

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Schubert: Fantasie in F minor - Sonata in C major / Farmer, Callaghan
Nimbus Jan 2022
CD
$20.99

Weber: Piano Sonatas (Complete)

Piano Classics

$29.99 May 27, 2016

Composed in the early 19th century, the four grand piano sonatas by Carl Maria von Weber round out the Classical age and herald in the Romantic style. All four of these sonatas are featured on this two-disc set, as well as Weber’s Rondo brilliante in E flat major, Op. 62, and Aufforderung zum Tanz, Op 65. +Pianist Michelangelo Carbonara studied at Lake Como Academy under such pianists as Dimitri Bashkirov, Leon Fleisher, Claude Frank, and Alicia de Larrocha. He has won several international competitions, including the Schubert International Piano Competition.

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Weber: Piano Sonatas (Complete)
Piano Classics May 2016
CD
$29.99

Mozart Legendary Interpretations - Lili Kraus - The Piano Sonatas

Sony Masterworks

$41.99 Jan 20, 2010

These 1967/68 recordings are not to be confused with the earlier Mozart cycle Lili Kraus made for the Haydn Society and recently reissued by Music & Arts. Close microphone placement yielded a bright, slightly flinty sonority that I remember from CBS/Odyssey's vinyl incarnation. Although I have not heard Sony's earlier CD reissue, the present edition's warmer, more rounded equalization unmasks subtleties of touch and nuance that showcase Kraus' pianism in more flattering, colorful light than before. In contrast to Joyce Hatto's operatic cultivation, Walter Gieseking's classical poise, and András Schiff's ornamental flair, Kraus is all passion and drama. An expressionist aesthetic governs her boldly contrasted dynamics, hard-hitting accents, and faster-than-common slow movements, along with angular phrasings and pedal effects that underline harmonic felicities and underplay barlines.

This approach best suits darker, more serious pieces such as the C minor Fantasy/Sonata K. 475/457 and the A minor K. 310 sonata. Similarly, Kraus' gaunt, stinging way with K. 331's famous first-movement variations and concluding Rondo Alla Turca liberates the music from decade's worth of interpretive cotton candy.

Perhaps the early sonatas, the bubbly D major Rondo, and "easy" C major K. 545 lack surface charm and elegance, largely due to Kraus' tendency to "think ahead" and push rapid passages slightly ahead of the beat (a habit of her one-time teacher Artur Schnabel), yet her nervous energy always enlivens rather than obliterates Mozart's intentions. I only wish that Kraus also had recorded the wonderful F major Sonata K. 533/494. It's good to have these invigorating, often provocative performances available again.

--Jed Distler, ClassicsToday.com

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Mozart Legendary Interpretations - Lili Kraus - The Piano Sonatas
Sony Masterworks Jan 2010
CD
$41.99

MOZART: THE COMPLETE PIANO SONATAS VOL. 3

ORCHID CLASSICS

$16.49 Sep 04, 2026

Mozart's piano sonatas reveal an extraordinary range of character, from effortless lyricism to profound emotional intensity. In the third volume of his complete survey, pianist Jae-Hyuck Cho performs three contrasting sonatas which form an arc from light into shadow, before emerging into light once more. Opening with the luminous Sonata in C major, K. 330, the program moves to the dramatic A minor Sonata, K. 310, one of Mozart's most emotionally charged keyboard works, before concluding with the freshness and wit of the G major Sonata, K. 283. Together, these three sonatas reveal Mozart's ability to combine elegance, theatrical instinct and deep humanity. Cho approaches these works with a distinctly vocal perspective, shaping each phrase as though sung and drawing on Mozart's close relationship with opera. The result is a performance of warmth, clarity and expressive freedom that allows each sonata's individual voice to emerge while revealing the broader narrative that connects them. This third instalment continues a thoughtfully conceived cycle that places musical character and storytelling at it's heart.

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MOZART: THE COMPLETE PIANO SONATAS VOL. 3
ORCHID CLASSICS Sep 2026
CD
$16.49

J. C. Bach: Six Keyboard Sonatas, Op. 17 / Alberto Nosè

Naxos

$19.99 Feb 26, 2008

Clarity, rhythmic poise and a light touch are keywords. Nosè lets the music speak.

London-Bach, as he has been called, was the youngest of Johann Sebastian Bach’s sons. He was fifteen when his father passed away and then moved to Berlin, where his half-brother Carl Philipp Emanuel was harpsichordist to Frederick the Great. Young Johann Christian studied with his brother and it was during this time he wrote his first concertos. In 1754 he moved to Italy where he was successful as an opera composer and it was in this capacity that he was called to London where he settled. In London he met the young Mozart and was greatly influenced by him as a composer. The six sonatas Op. 17, first published in Paris in 1774 as Op. 12, clearly show his compositional style. It is easy to hear similarities between the two composers, especially the earlier Mozart sonatas. Bach’s sonatas are good representatives of the gallant style with sweet melodics and the care-free and easygoing flow of the music.

Of these six sonatas only two are written in the traditional three movements and the brevity of most of them rather implies that they might have been labelled sonatinas instead. The exception is No. 6, which is on a much grander scale, elaborated and with deeper development of the thematic material. It is also technically the most demanding. Sonata No. 2 is the other three-movement piece and it also stands out as it is the only one in a minor key, which automatically lends it a more ‘serious’ character.

All the sonatas are highly entertaining and I don’t use that word in any pejorative sense. They are well constructed and fairly simple. Dr. Burney wrote about Bach’s keyboard compositions that they were ‘such as ladies can execute with little trouble’. But simplicity doesn’t exclude musical finesse, even though music of this kind shouldn’t be over-interpreted.

Alberto Nosè is a young Italian, who has a long list of prizes in prestigious piano competitions worldwide, most recently First Prize, Gold Medal and Sony Audience Prize in Santander 2005. The year before that I heard him in Florence where I found him better suited to Scriabin’s and Szymanowski’s late Romantic-to-Impressionist sound-world than Schumann’s more sweeping Romanticism. Half a century further back in history he reaps laurels through his clarity, his rhythmic poise and his light touch. He has a formidable technique, to which his prizes are testimony and which I also noted in Florence. He has ample opportunity to demonstrate this in Sonata No. 6, where the rousing finale in particular requires fluent finger-work. He sticks rather strictly to the basic tempos of each movement and keeps the dynamics within a rather limited scope, bearing in mind that these sonatas were composed for harpsichord or fortepiano. In other words he lets the music speak and puts himself in the background. I can’t think of better advocacy for Johann Christian Bach. Next time I would be happy to hear him in Scriabin or Szymanowski but I am afraid that Naxos have already dealt with both composers.

The recording has great clarity without being too analytical.

-- Göran Forsling, MusicWeb International

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J. C. Bach: Six Keyboard Sonatas, Op. 17 / Alberto Nosè
Naxos Feb 2008
CD
$19.99

Sonata Facile

Berlin Classics

$14.99 ~~$19.99~~ Save 25% Mar 07, 2025

She questions the simplicity in this program of "simple" piano sonatas and demonstrates her virtuosity by filling the few notes with as much musicality as possible. Shows different interpretations and styles of the genre "Sonatine" with works by Beethoven (No. 25, op. 79), Reynaldo Hahn (IRH90), Ravel (M. 40), Mozart (KV 545), Hermann Goetz (No. 1, op. 8) and Nikolai Medtner (op. 56)

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Sonata Facile
Berlin Classics Mar 2025
CD
~~$19.99~~ $14.99

Clementi: Sonatas Op. 1 & Op. 1a / Bacchi

Piano Classics

$10.99 ~~$21.99~~ Save 50% Oct 27, 2023

While Clementi’s sparkling music has been recorded by many celebrated pianists such as Arturo Benedetti MIchelangeli, few of them have paid much attention to the composer’s first published collection. This new recording by Carlo Alberto Bacchi is all the more welcome for being informed by his study of the composer’s complete oeuvre as part of the ‘Clementi Project’ which sees him performing many of the sonatas in concert as well as recording them for Piano Classics.

The inscription on Clementi’s tomb in Westminster Abbey commemorates him as ‘the father of the piano’. Clementi above all was responsible for devising a modern technique, of the kind still recognisable today, which would serve pianists on the larger instruments being manufactured in the early years of the 19th century. This technique is differentiated from harpsichord technique, and trained not just through lessons but through pianistic ‘methods’ and publications such as these sets of sonatas, which are arranged in order of progressive difficulty in order to introduced students to technical challenges step by step. Like Mozart, Clementi also manifested his musical talents at a very early age: at the age of 7, he was already studying organ, singing and counterpoint; he wrote a mass at the age of 11 and an oratorio at the age of 12.

The English nobleman and eccentric Sir Peter Beckford effectively bought the young Clementi on a seven-year contract and kept him at his West Country pile. When the contract with Beckford expired in 1774, Clementi moved to London and took off on a career that brought him fame across Europe – as a touring virtuoso, a teacher, publisher – and even sometimes composer. The six Op.1 sonatas were published in 1771, during Clementi’s period in service to Beckford. Although he was not yet 20 and almost completely self-taught, they show his mastery of material and his irrepressible invention. All the sonatas have a simple, playful and light-hearted character, and a two-movement form. The five Sonatas of Opus 1a, on the other hand, date from a decade later, even after the Op.6 Sonatas. They were published in Paris around 1781, and here we sense the stirrings of Clementi as ‘father of the piano’ in the cascades and doublings and expanded imagination.

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Clementi: Sonatas Op. 1 & Op. 1a / Bacchi
Piano Classics Oct 2023
CD
~~$21.99~~ $10.99

Piano Sonatas

Prospero Classical

$20.99 Feb 06, 2026

In his new CD recording, Swiss pianist Christian Chamorel focuses on four key works for solo piano by W.A. Mozart: the sonatas in C minor, K. 457; B-flat major, K. 333; and D major, K. 576; as well as the expressive Fantasy in C minor, K. 475, which originate from very different creative phases. Chamorel succeeds in creating a subtle interpretation that brings Mozart's music to life from within. Every phrase, every change in dynamics, articulation, and tempo seems like the result of a well-considered artistic decision and, at the same time, like a spontaneous impulse born directly from the moment.

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Piano Sonatas
Prospero Classical Feb 2026
CD
$20.99

Mix & Match

D'Indy: Piano Sonata in E, Op. 63 & Tableaux de Voyage / Armengaud

Grand Piano

$19.99 Jun 14, 2019

A student of Franck, Vincent d’Indy founded the Schola Cantorum de Paris where he taught for many years. He was also a conductor, with a busy schedule of international touring. His compositions were permeated by the influence of Wagner- he attended the premiere of the Ring cycle- but in time he also absorbed the influence of French folk music, especially from the Vivarais, his ancestral home. Vincent d’Indy’s large-scale Piano Sonata is one of a small but masterful sequence of non-programmatic instrumental works that he wrote in the first decade of the 20th century. Notable for a novel application of variation form in its opening movement it fuses experimentation with expressive power. Poetic atmospheres and landscapes are evoked in the Tableaux de voyage, postcards of his walks in Germany. The sonata was recorded in the castle Les Faugs in Ardèche, where d’Indy lived – the same place where the work was composed in 1907. Jean-Pierre Armengaud is today acknowledged as one of the great interpreters of French music, and has recorded critically acclaimed releases of Debussy, Roussel, Poulenc and Aubert for Naxos.

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D'Indy: Piano Sonata in E, Op. 63 & Tableaux de Voyage / Armengaud
Grand Piano Jun 2019
CD
$19.99

Weber, C.M. Von: Flute Trio, Op. 63 / Sonatas Nos. 1, 3, 4 a
Saydisc Sep 2006
CD
$20.99

Beethoven: Early Piano Sonatas, Opp. 2-7-10

Brilliant Classics

$16.99 Mar 20, 2026

An experienced early-keyboard specialist brings his expertise to the 'New Testament' of the piano repertoire. 'Period' performances of Beethoven sonatas have become relatively mainstream during the present century, through artists such as Robert Levin and Ronald Brautigam. Through them, we have learnt, or rediscovered, that the turns of phrase in Beethoven's musical thinking take on a particular shape and agility when played and heard on the kind of instrument for which he was writing. All the same, most modern fortepianos are exactly that: modern. In this bold new project, Simone Pierini presents the first nine of Beethoven's sonatas-from Op.2 to Op.10-on fully original instruments of the period. These instruments are identified as the work of piano-makers Johann Haselmann (end of 18th century-early 19th century), Matthias Müller (1822), and Conrad Graf (1830). Simone Pierini complements the sonatas with several standalone pieces: the Allegretto in C minor WoO53, Andante Favori WoO57, Bagatelle in B flat WoO60, the Rondos Op.51, Variations in D Op.76 and the Polonaise in C Op.89. The set thus surveys the first 20 years of Beethoven's career as a composer, from the Op.2 sonatas of 1795 to the Polonaise which he wrote in 1814-15. During those two decades, his style underwent far-reaching changes, which in themselves have come to define the passage from the Classical to the Romantic style in music. All the same, Beethoven was and is Beethoven all the way through, as inimitable and distinct in the coursing momentum and sometimes surprising breadth of Op.2 as in the inward gaze of the Andante favori and the sideways look at popular dances in the Polonaise: all of them, in their way, inheritances from and developments of Haydn's style. Simone Pierini's previous fortepiano albums for Brilliant Classics include sets of sonatas by Luigi Cherubini, JB Cramer (Beethoven's publisher in London) and Helene de Montgeroult. He brings to this repertoire a deep understanding of both it's context and the nature of the instruments on which these composers were working at the turn of the 18th to the 19th centuries: equipped with a lighter touch than many modern pianos, and a more intimate tone. Reviewing the album of de Montgeroult, the Fanfare critic remarked that Pierini 'plays with tremendous energy and conviction.'

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Beethoven: Early Piano Sonatas, Opp. 2-7-10
Brilliant Classics Mar 2026
CD
$16.99

Mix & Match

Beethoven: Eroica Variations / 6 Bagatelles / Piano Sonata N
BIS Jan 1987
CD
$21.99