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• W2149204504 abstract "This batch of eight new releases includes both solo piano and string–piano repertory: solo sonatas by Leopold Koželuch, Leopold Mozart and Anton Eberl; solo capriccios by Vaňhal; duos for violin or viola and piano by Hummel, Duphly and (a very young!) Wolfgang Mozart; and piano quintets by Hummel and Schubert. So the majority of this repertory is music by composers based in Vienna, written originally for the fashionable, amateur (and often female) keyboardist: appealing, engaging repertory that is not especially demanding either technically or conceptually, but well worth hearing. I will mention the solo piano works first, before discussing the ensemble repertory. During 2011–13 Kemp English undertook to record all of Leopold Koželuch’s (1747–1818) solo piano sonatas; no small undertaking and a very welcome contribution to our knowledge of one of Mozart’s most esteemed contemporaries. Here I discuss the first and second instalments: Leopold Koželuch: Complete keyboard sonatas 1 (Grand Piano gp642, rec 2011, 65′) and Leopold Koželuch: Complete keyboard sonatas 2 (Grand Piano gp643, rec 2011, 62′). I gather that a third volume has also now been released, although I have not had opportunity to hear it. The CD’s liner notes quote a 1783 reviewer who sums up these pieces by commenting that, ‘In his [Koželuch’s] sonatas there is much invention, good melody and a style of progression all his own. The fast movements are very brilliant and naïve, the slow ones very tuneful.’ This is entertaining music, especially when played with English’s panache and vitality. Perhaps overall I would have preferred more nuance of colour and dynamic, but this is a small quibble. There is a satisfying forthrightness about English’s style, and his playing positively fizzes with brilliance in the last movement of op.1 no.2. In several movements, English makes lavish—and entirely convincing—use of the damper register and moderator. I was less convinced by the decision to overdot several rests in the Largo of op.2 no.3: while it is arguably historically informed performance practice, I found the effect a tad jarring. The quality of the recording is elegant and clear; the Thomas and Barbara Wolf copy of a c.1795 Anton Walter fortepiano played on both these CDs sounds superb: one can hear the (comparative) resonance and power that distinguished Walter’s pianos and made them popular with the professional pianists of his day. Since most of us probably had never heard of Koželuch and his music before, it was disappointing to find that the programme notes for both CDs are identical, especially given the significance of recording a complete cycle of sonatas. While the notes provide a good introduction to Koželuch’s life history, I hope that future volumes will include more detail about the individual sonatas. Koželuch’s sonatas were written over four decades, and as they were sometimes published without dates (for example, the sonata in D major on English’s second CD), perhaps that is why this information was not included. Consulting Grove (whose list of 49 sonatas rather unhelpfully does not include opus numbers), I surmise that the op.1 and op.2 sonatas were published in 1780; op.5 in 1784." @default.
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• W2149204504 date "2015-07-08" @default.
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• W2149204504 title "Solo and ensemble Viennese keyboard music" @default.
• W2149204504 doi "https://doi.org/10.1093/em/cav058" @default.
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